Issue 20 - In Conversation with .. 9!

20TH ISSUE
IN CONVERSATION WITH TROYE SIVAN
NURA - FKA.M4A - MAYA BAKLANOVA - NAMILIA
ANDREA OCAMPO - OHII KATYA - LARASEVERA
BARRY BRANDON - ORKIDEH DAROODI
EVÎN - RICHARD KRANZIN
ALEXANDRA S. ADERHOLD - EDWARD MUTEBI
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studio183.co
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Meet the
Team
Editor-in-Chief
Fashion Editor
Art Direction
Marcel Schlutt @marcel_schlutt
mschlutt@kaltblut-magazine.com
Culture Editor
Johanna Urbancik @johannaurbancik
johannaurbancik@kaltblut-magazine.com
Music Editor
Nicola Phillips @nicphilf
nphillips@kaltblut-magazine.com
Fashion Editors
Nico Sutor @nico_sutor_
nsutor@kaltblut-magazine.com
Marcel Schlutt @marcel_schlutt
mschlutt@kaltblut-magazine.com
Contributors
Lina-Luisa Sittig
Nik Pate
Lewin Berninger
Alessandro Amarante
Mert Degirmendereli
Myriam Tisbo
Davide Corona
Nicky De Silva
Angel Ruiz
Julian Freyberg
Sebastian Kiener
DZHUS
Omid Aghdami
Oscar Latorre
David Kaminsky
Elys Berroteran
Follow us
www.kaltblut-magazine.com
Instagram @kaltblut_magazine
Twitter @KALTBLUTMAG
Facebook @kaltblut.magazine
Spotify
Youtube
Welcome to the 20th issue of KALTBLUT.
There are hardly any words to use in times like
these that can sum up or do justice to what each
and every one of is going through – no matter
where in the world you are. We’re all dreaming
of a world that celebrates diversity and equality.
That's why this issue is dedicated to everyone
fighting for their rights and beliefs. Only together
we can be united against hatred.
We hope you enjoy this magazine.
With love, The KALTBLUT team
On the
Cover
Concept/Photography/Edit - Nik Pate
www.nikpate.com @Nikpatestudio
Model - Chay Needs @Chayneeds_
Hair & Makeup - Rosie Mcginn
Using Fenty Beauty & Refy
www.rosiemcginnmakeup.com / @Rosiemcginnmakeup
All Fashion Pieces - Brian De Carvalho
www.briandecarvalho.co.uk @Briandecarvalho
Millinary Piece - Rafa Peinador
www.rafapeinador.com @Rafa_peinador
KALTBLUT MAGAZINE is published by Marcel Schlutt
KALTBLUT MAGAZINE I Danzigerstr. 162 I 10407 Berlin I Germany
All Copyright at KALTBLUT.
All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images.
Reproductions of any kind are prohibited without the permission of the magazine, editor and each contributor.
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P. 008 Namilia Interview
P. 044 Maya Baklanova
P. 072 Andrea Ocampo
P. 098 Troye Sivan Interview
P. 130 Ohii Katya Interview
P. 166 Nura
P. 242 fka.m4a
P. 316 Evîn
Interview
Interview
Interview
Interview
Interview
P. 362 Alexandra S. Aderhold
Interview
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AMILIA
Welcome to the world of Namilia, Germany's number one brand
when it comes to capturing the essence of fashion. Known for
seamlessly blending political opinions, dreams, convictions, and
conflicts into their unique, progressive, and finely crafted high
fashion pieces, Namilia continues to push boundaries and challenge
societal norms. The brand's outstanding creativity is once again
showcased in their breathtaking Spring/Summer 2024 collection,
which took the center stage at Berlin Fashion Week. Get ready to
be captivated as Namilia effortlessly breaks down barriers and
redefines fashion with their unparalleled vision and artistic
expression.
Photographer: Lewin Berninger - @lewin.ber
Digital Assistant: Nico Graggo - @_graggo
Light Assistant: Alex Kain - @alexrkain
Stylist: Anastasia Sheel - @anastasia.she
Styling Assistant: Tracy Ahimie - @_tracy_a_
Make-Up Artist: Alisa Fun - @alisafunnn
Hair Stylist: Hoang Linh Nguyen - @naturalhairsty.linh
Production: Helena Florenz - @helena.florenz
Production Assistant: Karo Kosenko - @__k.aro_
Production Assistant: Tim Berninger - @timberninger
Casting Director: Cameron Nedrick - @camerondavid__
Model: Aries Liu @MAJIN Scouting GBR - @ariesuil - @majin__scouting
Model: Fatou Ndure @IZAIO Management - @am.ndure -
@izaio.modelmanagement - @izaio.development
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Earring: ASTERISK
Veil: NAMILIA
Overall: NAMILIA
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Hat: GIUSEPPE TELLA
Earring: MODELS OWN
Necklace: ASTERISK
Blazer: MODELS OWN
Skirt: NAMILIA
Corset: NAMILIA
Shoes: NAMILIA
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AMILIAThe Heritage
of Rebellion - Namilia's heritage is
infused with a rebellious spirit. How does the
Spring/Summer 2024 collection pay homage to the
brand's provocative and trailblazing roots?
Our runway shows always channel a topic that
encompasses several political arguments and
aesthetic themes. Certainly, this collection was
no different and reaffirmed many of our beliefs,
especially around sex positivity, social depictions
of femininity, and referencing pop culture. Some
of Namilia’s favourite runway motifs appeared
throughout “In Loving Memory of My Sugar
Daddy,” like voluminous hoop skirts, unexpected
backless dresses, and cheeky slogans, but in many
ways, this collection marked a new era for us.
This new collection seamlessly blends boldness
and delicacy. How does Namilia strike the perfect
equilibrium between audacious and ethereal in
their designs?
The entire Spring/Summer collection followed this
ethos, where we wanted to create these gorgeous
silhouettes inspired by old school couture, but
infused with the Namilia sensibility that is super
sexy, provocative, and has a sense of humor. That
really is our brand identity at the core.
Fashion as Storytelling - Each Namilia collection
tells a powerful story. What narrative threads
can we unravel from the Spring/Summer
2024 collection, and how do they captivate the
imagination?
When we first shared a teaser on Instagram with
the collection title, the theme of a sugar daddy
funeral really excited people. Many in our
audience at the show dressed up as though they
really were going to their sugar daddy’s funeral
and it was so iconic! The references to the cross
and Christianity also certainly ignited a lot of....
discourse. The comments and DMs were insane,
so many people said really offensive and
aggressive stuff to us, but of course the people
that got it were obsessed.
The show’s concept focuses on reclaiming the
stereotype of the gold digger as a figure of
transcending misogynistic social norms and
class stratification. Namilia is inspired by the
entrepreneurial savviness of deploying sexuality
to navigate modern day capitalism.
In the Bible, women are depicted in one of two
mutually exclusive ways: as the virgin, or as the
whore. The myth of Adam and Eve establishes
women as the demonic seductress responsible
for the downfall of mankind. Western European
societys` inequality and rigid views on gender
have been oppressively enforced across the globe.
A legacy that remains throughout modern society.
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Hatpiece: GIUSEPPE TELLA
Necklace: ASTERISK
Corset: NAMILIA
Skirt: NAMILIA
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Necklace: ASTERISK
Bodysuit: NAMILIA
Gloves: NAMILIA
Boots: NAMILIA
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Necklace: ASTERISK
Bodysuit: NAMILIA
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FATOU:
Earrings: ASTERISK
Vest: NAMILIA
Skirt: NAMILIA
ARIES:
Dress: NAMILIA
String: NAMILIA
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AMILIA
Subverting Stereotypes - Namilia constantly
challenges societal norms through fashion.
How does the new collection disrupt traditional
gender roles and redefine expressions of
femininity and masculinity?
Our S/S24 collection is a very queer interpretation
of fashion, both conceptually in how we’ve
interpreted and resignified motifs, as well as
aesthetically in styling and casting.
Our depiction of gender has always been about
blending symbols of masculinity and femininity
to subvert expectations and push for new, more
progressive, and more fluid understandings of
gender.
Namilia's designs embrace fluidity and liberation.
How does the Spring/Summer 2024 collection
empower wearers to embrace their bodies and
celebrate the beauty of movement?
With Namilia S/S 24 “In Loving Memory of
My Sugar Daddy,” the cliche of the gold digger
is turned on its head as we play with visual cues
to challenge sexist assumptions. We celebrate
using hyperfemininity and sexuality to get what
you want—and what you fucking deserve.
Sex work is the most literal application of
capitalism, of selling our beings and our bodies
to survive. In this era of digital identity, late-stage
capitalism, and neoliberal politics, sex work should
be decriminalized as one of the oldest forms of
labor.
Interview by Marcel Schlutt
Follow: @_namilia_
namilia.com
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Earrings: ASTERISK
Dress: NAMILIA
Boots: NEW ROCK
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Earring: ASTERISK
Veil: NAMILIA
Overall: NAMILIA
Slip: NAMILIA
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Earrings: ASTERISK
Vest: NAMILIA
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Hat: GIUSEPPE TELLA
Earring: MODELS OWN
Necklace: ASTERISK
Blazer: MODELS OWN
Corset: NAMILIA
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Hatpiece: GIUSEPPE TELLA
Necklace: ASTERISK
Corset: NAMILIA
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Crochet F
Art Director / Photographer / Stylist / Hair & Make up Artist:
Alessandro Amarante @alessandro_amarante_
Crochet Designer: Lurdes Lino @lurdeslino
Photography Assistent: Corina Cacoilo @corkypages
Model: Mário Clara (Modelwerk / We are Models) @mario.clara
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Nastia, 13 y.o

airy Tale
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Art work by Christian Achenbach
Galerie Sara Lily Perez presents:
BEYOND REACH
An exhibition till November 18th 2023 /Berlin
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EXPLORING LONGING IN THE DIGITAL AGE
Welcome to an exquisite new exhibition at Galerie Sara Lily Perez, where
the boundaries of human connection are reimagined. Join us on a captivating
journey titled "BEYOND REACH: Navigating Longing in the Modern World,"
featuring the breathtaking works of renowned artists Christian Achenbach,
Wei Tan, and Jack Hughes.
As we plunge into the depths of this exhibition, the innate human desire for
genuine connections becomes ever more apparent. Against the backdrop of
virtual relationships and the yearning for physical touch, BEYOND REACH
strives to intertwine our longing for authenticity with the challenges posed
by modern technologies. Prepare to be captivated by a carefully curated
selection of artworks that delve into the profound impact of isolation,
urbanisation, and technological progress on our personal relationships.
Experience a poignant reflection on the tenderness and fragility of the bonds
that unite us in this fast-paced world.
Step into a realm that defies the notion of closeness and distance, as we
challenge conventional perspectives. Uncover the paradox of our hyper-connected
yet emotionally distant lives, where technology influences our every
interaction. Join us for this extraordinary exhibition, running till November
18th, and prepare to be mesmerised by BEYOND REACH: Navigating
Longing in the Modern World.
Find out more via www.saralilyperez.com
Christian Achenbach
studied at Hochschule der Künste Berlin from 2001 to 2007. He had artist
residencies in Copenhagen and Switzerland. Achenbach is also a co-founder
of the "Artistweekend". The Berlin-based sculptor and painter reinterprets
20th-century art history with a fresh postmodern perspective, akin to
composing a symphony. He shares a love for music with Kandinsky, and their
art resonates with a "synesthetic" connection between colours and sounds.
Achenbach's works cleverly explore modernity, particularly postmodernism.
His pieces lack central motifs, featuring rhizomatic combinations of geometric
shapes and symbols, evoking Modernity, Dadaism, and Cubism. Just as music
blurs clear contours and employs an explosive color palette, Achenbach's art
follows a similar path.
www.christianachenbach.de
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Art work by Jack Hughes
Jack Hughes
is a Welsh artist. He holds a BA in Fine Art from the Arts University Bournemouth (2018) and currently
resides in London. He specialises in creating large-scale oil paintings characterised by bold
under-painting and contrasting colours. Initially exploring existential themes, Hughes has transitioned his
artistic focus towards vivid, densely saturated depictions of his upbringing. His current work is firmly
rooted in his childhood experiences, drawing from his dreams and memories to evoke a sense of nostalgia.
Hughes' creative process now often begins with his dreams, which serve as the inspiration for his paintings.
He maintains a dream diary, documenting dreams connected to his personal memories of people
and places.
Wei Tan
is a Malaysian painter and sculptor
based in Berlin, who transitioned from
music composition to abstract
painting in 2015, drawing inspiration
from Abstract Expressionists. Her art
serves as spontaneous self-expression,
with each painting reflecting
subconscious thoughts through
spontaneous gestures and the
mingling of materials. In her later
works, she combined tangible objects,
like chairs and tables with abstract
elements, evoking a range of
emotions. Her art offers a glimpse
into her emotional world and prompts
viewers to explore their own feelings.
weitanart.com
Art work by Wei Tan
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Art work by Christian Achenbach
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MAYA BAKLANOVA
“WE'VE ALL
FINALLY REALISED
THAT THERE'S NO
ROOM FOR ILLUSIONS!”
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Next to Berlin, Kyiv is seen as one of the hubs for nightlife and underground
electronic music. Due to russia’s full-scale invasion over two and a half years ago,
the nightlife is slowly recovering with collectives and clubs putting on events
to collect money for the Armed Forces of Ukraine. But how has the war changed the
electronic music scene, and is it possible to separate the art from the artist?
Maya Baklanova tells me it’s not possible.
Alongside the communications manager of
Cxema, Amina Akhmed, she shared an open
letter signed by almost all representatives of
the Ukrainian scene aimed at the international
scene demanding decisive action against the
russian imperialism machine, against the war
and against the disregard of Ukrainian values.
“It's a call to support those who are fighting at
the forefront for these values right now”, the
letter concludes.
I spoke to Maya, who calls herself a Cultural
front fighter working in the Ukrainian
electronic music scene. Based in Kyiv, she
is using her social media accounts to inform
the international community of the cultural
connections in russia to the war, such as her
post on russia’s Outline festival showing a
military conscription tent just outside the festival
grounds.
Her call out has reached international media
organisations, such as Deutschlandfunk, and
reached several thousand people on social
media. Of course, this brings along troll
accounts who are designed to bully and harass.
KALTBLUT had a chat with Maya asking her
about her role as a digital activist and the state
of the Ukrainian electronic music scene.
How has the war changed your view on the
national and international electronic music
scene and industry?
The war has definitely changed my perspective
on both the national and international
electronic music scenes. Personally, it led to a
big shift in my life –
I switched my professional area from working
in communications at K41 club to focusing on
mental health issues among Ukrainian youth
through an NGO.
This change reflects the changing priorities
we've all had to face during these times.
Firstly, the Ukrainian electronic music scene has
undergone a significant transformation. It's no
longer holding onto any connections with the
russian scene. We've all finally realised that
there's no room for illusions. Also, the Ukrainian
scene went back to its roots, rediscovering
and drawing inspiration from our own musical,
cultural heritage, as well as reflections on the
ongoing war.
When it comes to the international
music scene, I've taken a step back. The
international music scene can sometimes
feel like this massive corporate machine
where ‘business as usual' seems to be the
motto.
Regardless of what's happening in the
world, 'the scene' continues to celebrate life
with russian money and pro-putin artists,
prioritising life celebration over the values
upon which minority communities are built.
But I still have some great artists from
around the world who've been a part of
my journey over the years. They continue
to show interest in Ukraine and what we
are doing here, support us, and even come
to play for us. Among them collectives
like Mala Hunta – they've always
been politically active and have stayed
connected.
Do you find there’s a stronger unity in
the Ukrainian electronic music scene?
For sure, the Ukrainian electronic music
scene is more united than ever. We all
understand our responsibility. There are
some tensions, though, especially between
those who left Ukraine and those who stay
here. Plus, there's a strong push to distance
ourselves from Ukrainian artists who
collaborate with russians.
But when it comes to the great danger to
our freedom, culture, and its existence,
unity is paramount.
You’re a digital activist, informing your
followers and beyond of artists that are
playing at festivals in russia funded or
affiliated with oligarchs. Why would
you say it’s so important to call those
organisations and artists out?
I believe it's essential to move beyond
discussions about the russian electronic
music scene and oligarchs. We must
acknowledge the historical and cultural
dimensions of the situation. russia has a
long history as an empire that has never
decolonised and is still moving in the totally
opposite direction. For years, russia has
appropriated or tried to erase Ukrainian
culture, often suppressing it.
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We must not forget the countless Ukrainian cultural
figures who were persecuted and killed by russian
governments simply for expressing and preserving
their Ukrainian identity. During the recent
occupation of Izum, we tragically witnessed the
death of Ukrainian writer Volodymyr Vakulenko,
who was killed by russians. This is a clear example
of ongoing genocide by russia.
The reason it's so important for me to speak out
is that any form of cooperation with those who
contribute to this genocide amounts to support
or tolerance of it. I am sure that neutrality in the
situation that is happening in Ukraine is fascism
and a cover-up for crimes.
I know that all these crimes will be proven
and those who remained silent will become
accomplices of the russian crime against humanity.
It’s impossible to start a conversation on the
internet without receiving either hate or troll
comments.
Have you noticed that with your work on
Instagram you’ve changed some minds?
It's a bit hard to measure, but I really hope I've
made a difference. I've tried to help people
understand the situation by sharing information
and resources. I've received messages from people
in the music industry saying things like, "We won't
work with those artists anymore," or "We've
cancelled shows," especially when an artist has
performed in russia. And there have been cases
where festivals seem to have decided not to book
artists like Nina Kraviz, for example. I see these
as signs that some minds are changing, which
is a positive step forward. It shows that raising
awareness and speaking out can lead to real
changes in the music world and elsewhere.
What does the culture and music scene look like
in Kyiv right now?
It's a really broad question. ​On a government
level, there might be some challenges that can
affect things negatively due to unqualified people
being appointed in government roles, which can
create problems for culture and not help those
involved in cultural activities. So, most progress
in the cultural sector happens despite these
challenges.
But when you look at what's happening in
communities, it's a different story. There's a real
cultural renaissance going on. As a good example,
we've seen five new bookstores pop up in Kyiv in
just one month, and Ukrainian authors are topping
the bestseller lists. It's like there's a newfound
passion for Ukrainian literature.
Additionally, the cultural community plays a crucial
role in raising awareness about Ukraine on a
global scale. Many cultural events, album releases,
and art exhibitions are dedicated to promoting
Ukrainian culture and identity to the world. This
is quite an important mission, especially during
challenging times.
"THE UKRAINIAN SCENE
WENT BACK TO ITS ROOTS,
REDISCOVERING AND
DRAWING INSPIRATION
FROM OUR OWN MUSICAL,
CULTURAL HERITAGE, AS
WELL AS REFLECTIONS ON
THE ONGOING WAR."
How can readers support Ukrainians?
Donate. It's crucial. And raise awareness.
Watch Timothy Snyder’s lectures about
Ukraine.
Open yourself to Ukrainian culture, and then
you'll have no questions about where to
donate and why it's so important for all of us,
including you, dear reader.
Interview by @johannaurbancik
Photos by Anton Orehov @oorehov
Maya can be found on Instagram at
@mayabaklanova
You might have noticed that russia isn’t
capitalised in this text. Since the full scale
invasion on February 24, 2022, several media
outlets and organisations have adopted the
convention of writing "putin," "moscow,"
"russia," and "russian federation" with
lowercase letters as a sign of contempt.
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"WHEN IT COMES
TO THE GREAT DANGER
TO OUR FREEDOM,
CULTURE, AND ITS
EXISTENCE,
UNITY IS PARAMOUNT."
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NUNS IN BAD
Animation by Mert Degirmendereli / mertder.com / Instagram: @mertder1
Model is Christy, Tara, Viv, Sophie, Madeline, Kara digital asset of mertder.com
Styling & Clothes by Mert Degirmendereli / mertder.com / Instagram: @mertder1
MUA: Mert Degirmendereli
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HABITS
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A Fusion of Tradition and Avant-Garde
The series titled 'Nuns in Bad Habits' is an exploration
that draws inspiration from the iconic architectural
elements of traditional nun habits, which have long
adorned the heads of these religious figures. The title
encapsulates a double entendre, alluding to both their
distinctive head garments and their veiled indiscretions.
Within this series, the fusion of fashion and art is
combined together. It marries the traditional with the
avant-garde, taking essential elements from the source
material and elevating them to an exaggerated and
structured silhouette. The result is a collection of fashion
portraiture that invites viewers to ponder the interplay
between tradition and contemporary expression.
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WHAT
IS
BEAUTY?
"When we asked ourselves what beauty is, we looked inside and
understood that beauty is the opportunity and the courage to give
people a voice, to tell their story and their version of beauty. In a
world where inclusion is not yet outdated, our "What is Beauty?" project
really wants to create beauty with images that should be accepted,
admired and respected with greater love. In this case, we choose to
tell the story of Michele, Sharon and Sara."
Photography by Myriam Tisbo / www.myriamtisbo.com / @myriamtisbo
Styling by Sofia Roma / @sofiaroma_____
Makeup by Federica Omenetto / @feliciaeccentric
Hair by Sergio Sorbello / @sergiosorbello
Photography assistant is Nicole Nicora / @nicole.nicora
Video by Matteo Mastrogiuseppe / @matteomastrogiuseppe
Assistants Styling are Bahar Khatony / @baharr.kt and Lorena Brunco / @lorena_brunco
Producer is Ilaria Ionata / @jaja_su_tela
Talents are Michele Bianchini / @mich.palle
Sharon Malatesta / @tsk.sha
Sara Santi / @_miro_______
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Left
Jumpsuit by Shunting Qui
Mesh Belt by Linden
Festival Belt by Inan Studio
Right
Shirt by Shunting Qui
Top by Vivetta
Shorts by Relish 61

"JOIN US
ON THIS
EXTRAORDINARY
VOYAGE
AS WE UNVEIL
THE RAW,
UNFILTERED BEAUTY
THAT RESIDES
WITHIN US ALL."
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Skirt and bra by Dennj
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Dress by Patchouli Studio
Earring by Bea Bongiasca
Neck Belt by Inan Studio
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Corset by Dennj
Slip by Patchouli Studio
Jeans by Lois
Bag by Rosantica
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Earring by Rosantica
Shirt 100% Lino
Blazer by Tarea Studio

Total look by Windowsen
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Dress by John Richmond
Ring by Rosantica

Blazer by Annakiki
Belt by John Richmond
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Skirt by Dennj
Bra by Dennj
Mask by Agglomerati

Body by Patchouli Studio
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ANDREA OCAMPO:
THE DEPTHS OF
EDITORIAL ILLUSTRATION
In a world, where emotions are masterfully captured through strokes of a pen,
Andrea Ocampo stands out as an exceptional illustrator. With a journey marked by
determination and a passion for art, Ocampo's exploration of editorial illustration
has brought us into a realm where stories are told through a collision of imagination
and visual imagery.
We had the pleasure of delving into the mind and artistic process of the talented
artist. Throughout Ocampo's artistic evolution, her style has undergone a
metamorphosis, defying categorisation in its ever-changing nature. However, one
can often find a figurative emphasis in her work, with the human form serving as a
central element. Yet, it is the emotional depth that truly sets her illustrations apart.
Each piece is a window into a world imbued with hints of melancholy, inviting
viewers to explore the complexities of their own emotions.
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Can you tell us about your journey as an
illustrator and how you developed an
interest in editorial illustration?
Well, my journey as an illustrator has been kind of
difficult and has had its ups and downs and downs
as life itself. I have always loved to draw even when
I started to study a degree I didn’t like. I was always
thinking about drawing or illustrating or just art.
I decided to finish my degree (the one I hated) to get
a job as an environmental engineer during the day
and to study illustration at night in an academy in
Bogotá, Colombia. I think this was the best decision
I made.
When I was studying illustration, our professors
always had references and I always identified with
those who draw about themselves (exploring graphic
novels), or just imagining a world for a simple story
or even a word. That’s when my interest in
editorial illustration started.
How would you describe your artistic
style and what elements or influences are
prominent in your work?
It’s hard to explain my own style because I feel my
artistic style is constantly mutating, but sometimes
I feel my art is in pupa and I don’t know how much
time to take for a new idea. However, I can say my
artistic style has a figurative emphasis, using the
human figure as a central element always
accompanied by emotional depth; my art conveys a
sense of melancholy, suggestions and exploration
of deep and complex emotions. On the other hand, I
enjoy incorporating masks, anthropomorphic beings
and reflections on the mirror in my illustrations.
Could you share an example of how you
translate written or auditory language into
visual images in your illustrations?
It’s not always the same way. Nevertheless, my
creative process is kind of chaotic (in my mind at the
beginning). I start with an idea, wich could be -for
example- a song that a musician gives me, the first
thing I do is listen to the song, then I think about how
I feel, and always ask if there is a preconceived
concept. If there isn’t any, and I am free to draw,
I make two or three sketches. These are about the
feelings I had and about a phrase or word that the
song has caught my attention or I consider to be the
clue of the song.
Sometimes I write the ideas and feelings, I’m also
looking for references about the emotions I want
to transmit. During my day-to-day, before I start to
draw, I am very attentive to details and how I can
relate them to the ideas I have. Sometimes I change
everything because I see something in my day that is
better than the initial idea. It is for this reason
I said my process sometimes is chaotic but just in the
beginning, once I have the sketch everything is easier
and organic.
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What role do small details and hidden
messages play in your work? Can you
give us an example?
I mostly draw these small details and hidden
messages in my personal work, but sometimes I can
incorporate them in other paid jobs. The main role of
these details is to reinforce an idea, this idea could be
a “wink” or could be a clue for viewers who are free to
interpret it.
An example of this “wink” could be in my illustration
“Fly” (“Vuelo”) where there is a moth girl who is
letting butterflies fly away from her hands. It’s a
metaphor for flying.
How do you find inspiration in everyday life
and the fiction of the human mind? Can you
share a specific experience or instance that
inspired one of your most notable works?
Observation is the clue. Observation and daydreaming.
Sometimes we are immersed in our activities and our
minds and we do not observe anything. We forget to
be amazed. If you stop for one minute in the middle
of the street and simply watch people walking around,
you find yourself asking many things about these people.
You can find beauty in chaos.
Human emotions and personal experiences are a rich
source of inspiration to me. A specific experience (that
I can share) was one day when I was overthinking,
meanwhile, I was taking a shower, so I saw my feet
and they had hair strains from my head I realised that
they looked like leaves, and I felt like a leafless tree.
(So I drew it).
Can you tell us about your experience
working on illustrations for virtual
magazines? What challenges did you face,
and what techniques or approaches did
you employ?
Whenever I start a new project, I always feel
excited and anxious. I have had the chance to work for
some magazines where writers share their fiction, so
my work there is to interpret the stories.
Sometimes, I’ve had to read them more than twice to
find the best way to translate these stories into
illustrations.
As I read, I tend to figure out how I could draw some
characters or situations, usually, I prefer being
metaphoric and don’t give a direct drawing about a
specific phrase – scene, unless the editorial director
asked me to.
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How do you approach creating infographics?
Are there any specific guidelines or principles
you follow to effectively communicate
information through illustrations?
When I have the chance to create infographics, the first
thing I do is reading so much about the issue I have to
work on. I make a summary and mind map about how
would be the best way to diagram, incorporating illustrations
and text, and obviously making my idea to be
easily understood through the infographic.
I think that specific guidelines to effectively
communicate information through illustrations are
being simple, using a proper colour palette and always
knowing the context.
What has been your favorite project working
with independent musicians? How do you
collaborate with them to achieve a visually
appealing representation of their music or
brand?
There is a band whose main character is a Snail, and
all their album covers have this snail, snail skating,
snail in space, snail surfing and all of those were made
by me. I think this is my favourite project until now.
The frontman always tells me what they want. He gives
me an idea and I reply with three sketches about this
idea, sometimes he chooses one and other times he
wants a mix of two ideas.
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Can you elaborate on your perspective
on humor in your illustrations? How do
you incorporate humor, and what do
you hope to convey to the viewers
through it?
Hard question! Thinking about humour in my
illustrations is hard because I think my sense of
humour is absurd. However, I don’t know if this
humour is in my art. Sometimes, I think it is,
always using little details and thinking how this
could be accurate for viewers.
How does your heritage or cultural
background influence your work as an
illustrator? Are there any particular
themes or elements from your heritage
that you incorporate into your
illustrations?
In some way my cultural background influences
me, even if I don’t consider it as a reference.
Everything surrounding my life so far has been
an influence on me, even on my academic
choices, like having started a career outside of
art. The context where I grew up delayed my
choice to study illustration, but in the end, I was
able to do it. The nature of things has allowed
me to keep my eye, find beauty and even be
inspired by the ugly things of a social context.
However, that’s not usually the main focus of my
art.
Recently, I made an illustration about the town
where I grew up, and I had to stop and think
about all the places where I have enjoyed and
cried; the people who surrounded me and
everything, it gave me a new perspective about
my place as an artist here.
Interview by Marcel Schlutt
Follow Andrea at @ancrioca
www.behance.net/ancrioca
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@fashionclash_festival

@fashionclash_festival
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Family
Affair
The young boy came from a very strict and traditional family. He had always been pressured by his parents and society to behave in a
certain way and conform to certain standards. However, since he was very young, he had always felt a strong attraction to the female
world and fashion. Despite this, he had always kept these feelings hidden, even from himself. After finishing his studies at university, he
was hired as a young lawyer in a prestigious law firm in Paris, where his father also worked. He was proud to be part of an outstanding
team and to have the opportunity to work alongside his father, whom he had always considered his mentor.
However, despite this success, he felt that something was wrong. He felt uncomfortable in the clothes he wore and in his own skin. As
time went on, this dissatisfaction increased more and more. One day, he decided it was time to make an important decision. With his
heart pounding, he decided to go to work dressed and made up as a woman. He was nervous about how his colleagues and especially
his father would react, but he was also determined to follow his true nature.His father's reaction was exactly what he feared. When he
entered the law office dressed as a woman, his father was shocked and disappointed. He did not understand how his son could have
made such a decision and told him that such behaviour was inappropriate and would damage the reputation of the law firm.
Despite the negative reactions of his father and some colleagues, he was happy to finally be himself. He began to appreciate his work
even more and to receive praise for his talent and dedication. As time passed, his father also began to accept his choice and to see the
value and importance of being himself, regardless of society's expectations. He continued to work successfully in the prestigious law
firm and to be himself, dressed and made up as a woman. He was happy and fulfilled and knew that he had made the right decision.
This story shows that love and acceptance can overcome any obstacle.
Photography By Davide Corona
Davidecoronaphoto.com / @Davide._.Corona_
Styling By Laura Aguilera /
Laura-Aguilera.com / @Lauraaguilera.m
Makeup By Sabine Leib / @Sabinemakeupartist
Nails By Nita Garcia / @Nita_garcia_
Model Is Hana Bithek / @Hanabithek
Photo Assisting By Karla Varas / @Karla.das
Styling Assisting By Laura Manotas
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Top and bottom by Morfium
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Top and bottom by Morfium
Boots by Selected

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Top and bottom by Morfium
Heels by Selected
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Dress by Lena Erziak

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Dress by Lena Erziak

Top and bottom by Morfium
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Actor, model, singer, and queer icon—these labels just touch the surface of the
multi-faceted superstar, Troye Sivan. Hailing from Australia, he embarked on
his artistic journey in 2007, sharing videos of him singing on YouTube at the
young age of 12. Since those early days, Troye has been immersed in a
whirlwind of projects, gifting us with two studio albums, numerous EPs, and
taking on various acting roles, including a notable appearance in Sam
Levinson's, The Idol.
After the successful release of the singles "Rush" and "Got Me Started"
preceding his acclaimed third studio album, "Something To Give To Each
Other," Troye has proven that he’s here to stay. The distinctive sound of "Rush"
combined with an exceptionally cool video, followed by "Got Me Started"
featuring a sample by Bag Raiders's "Shooting Stars," has showcased Troye's
seemingly unstoppable momentum. From dancing with Tube Girl in London to
gracing the catwalk for Miu Miu, and culminating in the release of his third
album, 2023 has proven to be Troye's year.
KALTBLUT had the opportunity to catch up with the singer prior to the album
release, discussing Berlin, his favourite track from the latest album, and the
current crucial importance of togetherness.
TROYE
SIVAN
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How are you feeling with the album release coming up?
Are you nervous?
I'm feeling really good. I'm not really that nervous. It's been such a
long build-up and I feel very ready, which is nice. I'm just so proud of
the album. It's obviously a release, but it's also such a release when the
album finally comes out, emotionally.
I'm mentally preparing myself for that because it's a very intense
experience.
How long have you been working on the album?
I want to say two and a half, three years, maybe.
How does it feel releasing it now after such a long time?
Have the songs changed for you since having recorded them?
It changes the second something comes out and becomes a totally
different thing to me. They still feel fresh to me now. Seeing the way that
people reacted to a song like "Rush" brings all of this fresh excitement
and energy back into the song and my life. I love it.
You've released two songs before the album release, "Rush", which you
just mentioned, and "Got Me Started". Both songs went viral and were
really well-perceived. Does that take pressure off the album release?
It kind of takes the pressure off a little bit, to be honest. For me, that's
never really the goal. It's often when it happens, but it's never really the
goal. For me, the pressure I feel more so is that by the time someone is
finished listening to the album, they feel like they know where I'm at and
connected to me, themselves and the people around them. That's the
pressure I feel.
You've probably been asked this several times, especially by German
journalists. You filmed “Rush” in Berlin. Why?
"Rush" is a party song. It's about the euphoria you feel when you're
surrounded by people on a dance floor, it's hot and sweaty and the
music is right. I've had spiritual experiences in those moments. When it
came to filming the video, we could have tried to fake it.
But the entire album cycle, I wanted everything to feel real. It had to be
genuine and vulnerable. That's why I decided to do the real thing. And
if you're going to party, where else do you go but Berlin? So we went,
partied for a few days and filmed it. Besides the choreography, the video
was not structured in any way. We sort of threw ourselves into these
various rooms, partied, had fun and filmed it.
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While recording the song, did you already
have Berlin in mind?
I've been to Berlin before. I don't know that
I necessarily thought about it in the studio
besides partying. I genuinely don't think many
places, if anywhere, do it better. It felt like an
obvious thought. I wasn't sure it was going
to get approved as far as budget and flying
everyone to Berlin to make this video. When
they said yes, I was over the moon. The video
would not be what it is without Berlin.
The video for "Got Me Started" was then filmed
in Bangkok. Why did you choose Bangkok?
Bangkok always stuck out to me as visually
striking and it feels like the most alive city I've
ever been to. The streets have this energy I've
never felt before. On top of that, it's also a very
queer city, which is inspiring to me. I've always
wanted to make something there.
"Rush" felt like a daytime party, "Got Me
Started" felt very night, which is why I wanted
to go to Bangkok and film it at night with the
beautiful lights and people. It was important to
me that this album felt like something that’s all
about togetherness. I wanted to show that and
me traversing through the world, having these
beautiful experiences with beautiful people.
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Do you think that sense of togetherness is ever more important now?
I do think it was a response to a lot of things. I've been living in the US
throughout the Trump presidency, then COVID, and physically being not able to connect
with people in the same ways we had before. At the time of writing the album during
COVID, it was almost a fantasy as much as it was something that was happening to me at
that time. It was an ambition to feel that connection again.
I feel that comes through when listening to the album. You announced the tracklist a week
before the release and revealed that "One Of Your Girls" is your favourite song. Why?
I didn't know how I felt about that situation and used songwriting to help untangle it for
myself. Through not knowing what I was feeling, I captured a lot of the layers and the
nuance of the experience. It's an interesting song from a songwriter's perspective.
I love the production, we really pushed ourselves. And to me, it's one of the songs I'm
most proud of in my whole career.
When you perform those songs, does it bring back those emotions or new emotions?
I'm not sure because I haven't played these songs live yet. I haven't played live really
since 2019, it's been a long time. I'm a little bit nervous about it. I am curious to see how it
feels to sing, especially some of the older stuff, because I'm in such a different place now.
It's gonna be really interesting and I don't know what it's gonna feel like.
When looking at your social media accounts, you seem to be everywhere. How do you
manage to do all that, including learning the choreographies for the videos?
The days leading up to the videos were definitely some of the most stressful moments of
the campaign. I was doing a million things. You've got this heavy, heavy weight on your
shoulders, and in the back of your mind, you think about also having to learn the dance.
I carved out time where I could rehearse. We rehearsed for "Rush" maybe for around two
days, and for "Got Me Started", I had four days.
I was doing stuff in the morning and then went rehearsing in the afternoon. There's a
physical limit to how much I can dance because I'm not a dancer. I'm not that fit. After a
couple of hours of dance rehearsals, you have to go home at a certain point and accept
it as what it is. I also spent a lot of time on shoot day rehearsing.
Well, my flatmate, who’s an ex-dancer, said earlier that your dancing looks great!
Thank you for taking the time to speak to me, Troye!
Stream the album here.
Interview by @johannaurbancik
Follow @troyesivan on Instagram to keep up with his projects.
Photos by Stuart Winecoff and Universal Music
This interview was conducted a week before Troye released his third studio album
“Something To Give To Each Other” on October 13.
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Follow @dragracegermany / @paramountplusde

Follow @dragracegermany / @paramountplusde
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NEW SNEAKERS
Welcome to our sneaker guide, where we highlight three must-have sneakers that
deserve a place in every wardrobe. Prepare to be inspired by these timeless classics blending
style, comfort, and versatility. From iconic silhouettes to modern innovations, we proudly present
the sneakers that will take your footwear game to the next level. Discover the perfect balance between
fashion and function, as we showcase the essential sneakers everybody needs to own.
Lace up and get ready to elevate your shoe collection!
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Introducing the Fresh Foam X 1080: The Ultimate Running Shoe
Experience the perfect fusion of comfort and performance in New Balance remarkable
creation, the Fresh Foam X 1080. From your everyday outings to the most exhilarating
race days, this shoe delivers unrivaled versatility. Prepare to indulge in the smoothest
transitions, thanks to the Fresh Foam X midsole cushioning, engineered for seamless
landings and powerful push-offs. With its second-skin style mesh upper, this marvel offers
exceptional breathability and unwavering support. It's time to elevate your running game
to new heights with the Fresh Foam X 1080.
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ASICS x GmbH GEL-KAYANO Legacy Sneaker
The GEL-KAYANO LEGACY sneaker draws inspiration from
different GEL-KAYANO designs and the milestones that
influenced the series' 30-year history. ASICS started with the
GEL-KAYANO 14 sneaker for this silhouette's base construction
and modified its upper with various materials and badge details
that were taken from various eras of the GEL-KAYANO timeline.
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SALOMON AND BORIS BIDJAN SABERI
For the first time, Salomon and 11 by Boris
Bidjan Saberi have collaborated on a unique
Athletic Bouldering FW23 collection which
will live alongside the eponymous 11 by Boris
Bidjan Saberi seasonal dyed range.
The ongoing partnership has evolved to
incorporate footwear, apparel and packs
through a unique athletic bouldering concept.
The collection takes inspiration from Salomon’s
heritage in mountain sports and the athletic
outdoors and Boris’ passion for climbing,
resulting in a very specific design language
attributed to both the specificities of
bouldering and adapted utilitarianism.
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MR
NEEDS
CONCEPT/PHOTOGRAPHY/EDIT - NIK PATE
WWW.NIKPATE.COM @NIKPATESTUDIO
MODEL - CHAY NEEDS @CHAYNEEDS_
HAIR & MAKEUP - ROSIE MCGINN
USING FENTY BEAUTY & REFY
WWW.ROSIEMCGINNMAKEUP.COM / @ROSIEMCGINNMAKEUP
ALL FASHION PIECES - BRIAN DE CARVALHO
WWW.BRIANDECARVALHO.CO.UK @BRIANDECARVALHO
MILLINARY PIECE - RAFA PEINADOR
WWW.RAFAPEINADOR.COM @RAFA_PEINADOR
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EXPLORING
THE INTERSECTION
OF ART, HERITAGE,
AND IMMERSIVE
EXPERIENCES!
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Interview by Marcel Schlutt
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Materialistic
Ohii Katya, a self-taught Ukrainian artist currently residing in Rome, Italy, thrives in creating immersive installations,
sculptures, and performances. With a keen eye for detail and a passion for her craft, her work transcends boundaries
and stimulates the senses. In this exclusive interview, we delve deep into Ohii Katya's artistic journey, the influence of
her heritage, and the captivating world she creates.

Your work has a truly mesmerizing quality. Can
you share your artistic influences and how they
shape your creative process?
I would say nature, which is constantly changing,
mutating, taking on bizarre and sometimes
grotesque forms. It’s so familiar, but at the same
time inexplicable and often frightening. It is a main
source of inspiration for me and shaped my interest
in a central topic in my practice - metamorphosis
and the allure of the odd.
Your heritage plays a significant role in your
artistic expression. How does Ukraine, your home
country, inspire and inform your work, even while
being based in Rome?
The place we live in creeps into our pores most
efficiently through the small details of everyday
life, changing us and, of course, influencing
everything we do.
For me, it was the contrast between the baroque,
blooming forest and the faceless walls of the
buildings. It was the fairytales grandmothers told
me, filled with magic.
It was the constantly changing and economically
unstable atmosphere of my childhood. I was also
influenced by friends and family members, each
original in their own way, like book characters.
I feel inspired by the cosy rainy greyness of
an autumn morning when you can put on
headphones and walk the familiar concrete
for hours, while your brain explodes with
creative ideas. Spring and summer with
their incredible air, as bright and short as
a flash, when you live an intense life for a
short period, you gain more impressions and
get prepared to fall into the white coma of
winter with its tasty hot tea.
Immersive installations are a prominent
aspect of your artistic repertoire. Could you
tell us more about the experience you aim
to create for viewers and the emotions you
hope to evoke?
I like creating realms and bringing people in.
I am happy to immerse the viewer and their
senses by travelling through these fairytale
terrains.
I am very curious how the repetitive
patterns, and the rituals we do influence our
consciousness. I am attracted to the odd,
unknown, and mysterious. I am fascinated by
nature.
An old memory comes to mind: I lived next
to a fairly large forest. Being a kid, I used to
play one game with my friends.
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When it was getting dark, we sneaked to the border where
the forest began. Lots were drawn and the one who lost had
to go into the depths alone, as far as their courage would let
them while the rest waited outside.
The forest hung like a solid impenetrable wall. The trees
were tall. The darkness in the depths was so black and
dense, it even seemed tangible. And when you entered it,
your child’s brain began to draw all the most unimaginable
things and creatures that could hide in there. You feel you
are completely alone, and even if you start screaming, your
friends will run away.
You are pierced by a numbing fear, not of a specific danger
but of the unknown. Nature, of which you are a part, seems
alien, inexplicable, almost divine as if you are faced with a
completely different logic that you cannot understand. You
want to simultaneously run away and climb deeper into this
impenetrable forest, merge with it. There for the first time,
I had an acute feeling of something weird, odd, present in
nature, and therefore in ourselves, in our bodies. Maybe
I am always trying to recreate that forest in different ways
within my art.
Sculpture is another medium where your talent shines. Can
you explain the connection between the physical presence of
your sculptures and the conceptual ideas behind them?
The main theme behind my art is the process of
metamorphosis. Sculptural pieces represent the hybrid entities
in a certain phase of their persistent formation as if we could
witness a greatly speeded-up evolutionary process, occurring
right before our eyes. Imagine the movement, the boiling
mass, the constant growth, as if something was tearing the
fleshy vessel from the inside, or, on the contrary, twisting and
sapping it.
When I thought about this, an image came to mind of how
clumps of obscure substance, either liquid or viscous, were
sprouting out tearing the body or a surface, how the number
of limbs was increasing and decreasing, how they changed
size and structure.
Now imagine it as a video sequence, where you pick only
one frame from the ongoing process, where the process of
change is frozen in time.
I guess somehow similar to how we observe the mutation and
evolution of a species, everything is changing, but the timing
of this change is so slow for us as if we were able to see only
that one frame from a video sequence for a lifetime.
Performance art is an integral part of your portfolio. How do
you use live performances to complement your installations
and sculptures, and what do you aim to communicate through
these performances?
Performances are the pieces of the puzzle, together with
sculptures and installations, that form the odious fictional
world, where the underlying tension between eroticism and
abjection, the fear of the unknown, and the lure of the new
and odd is evoked, where the characters undergo grotesque
transformations in search of their identity and place in the
world.
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Your website showcases a diverse range of projects.
Is there a particular body of work that you consider
your most significant or personally meaningful? If
so, could you share why it holds such importance for
you?
I love all my projects! Complimenting each other,
they shape one solid world. Probably the most
significant for me was my first solo exhibition,
Morula, curated by Stefania Plaza Mora because
within that show so many things happened first.
This was my first massive multidisciplinary
project that spanned sculpture, installation, and
performance. Even more: within Morula
I experimented with installation and performance
for the first time!
The show also included collaborations with the
Australian video artist Finn O’Hanlon, the Italian
composer Michele Papa, and many other people
who helped me along the way. And last but
not least, straight after Morula, the idea of an
imaginary world, stratified into castes was born.
This world now serves as a conceptual basis for
some of my current projects.
Your works seem to blur the lines between reality
and imagination. Could you elucidate on this concept
and how it manifests in your art?
This effect is visible in my installations made from
organic materials. Composed of dried branches
and burnt sugar, often inhabited by living insects,
these bizarre structures, seemingly completely
natural, mimic something bizarre and alienating,
causing a disturbing feeling, on the verge of sleep
and reality.
The same game between reality and imagination
manifests itself in my sculptural works. Especially in
the series about Voyeurs, creatures inhabiting
a dystopian fictional realm, stratified into castes.
With their sleek and shiny black shapes, I was
playing with the perception of what is real and
what is virtual.
They seem to be digital 3D models, while in reality
they are meticulously sculpted and painted by
hand.
Collaboration often yields interesting results.
Have you ever worked with other artists or art
collectives, and if so, how did it influence your
artistic direction?
In such a complex media, like installation,
collaboration is even a necessity. Most often
I collaborate with video and sound artists. It helps
me get expertise I do not have straight from the
professionals; it helps to make a piece more diverse
and complete by adding different layers.
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There is also a community-building element,
creating a world together with the artists you
appreciate, sharing ideas and emotions is
one of the best activities ever!
My recent favourite collaboration is the
installation and live performance, Feast,
the sound for which was composed by
the music duo from Milan, Grotesque
(Alessandro Vignati and Simone Chiodini).
The performance took place at Como
Contemporanea (CoCo), a former silk
factory, where I was transformed into a
human/insect hybrid creature, carousing on
a baroque 100kg still-life hanging from the
factory ceiling.
Another collaboration is the video work,
BALIA, directed by Finn O’Hanlon, and
featuring my same-name live performance,
showing a creature with silicone-glued eyes
awakened inside a makeshift womb, shaped
like the body of a huge woodlice.
Last but not least, I collaborated with the
Italian band Archivio Futuro for their music
video Deserto Giallo, directed by Leonardo
Parata. For this project, I created the masks
Volto and Venetian Devil, and an installation
IZBA.
Like the Cannibal Buffet performance,
whose grotesque story unfolds on the
altar of an abandoned monastery, the
choice of place was not random; the
well-known tradition of eating the body
of Christ in Christian churches, nowadays
symbolic, is an echo of ancient pagan
rituals associated with cannibalism.
Looking to the future, what exciting
projects or ideas are you currently
exploring? Any hints you can give us
about your next artistic venture?
I have several long-term projects I’m
working on. The main and the most
complex is taking place in the dystopian
realm stratified into reigning and
subaltern castes: Voyeurs and Executors,
involved in ceremonial spectacle.
This fictional world is obsessed with
persistent metamorphosis and a craving
for the unknown, which results in the
performance of phantasmagoric rites
that distort and transform participants
and often involve the erotic confluence
of executors with the elements of nonhuman
chimerical nature.
Many of your pieces are site-specific,
interacting seamlessly with their
surroundings. Can you share with us the
significance of this approach and how it
integrates with your artistic vision?
There is always a certain narrative behind
each piece. I perceive my works as nonlinear
fairytale chapters; each project is a part of
the world or an ecosystem that functions in a
particular way.
With this approach, specific events serve
specific places, like a certain type of animal
or plant that inhabits a certain area and
does not exist in another.
Since the central theme in my art is the
process of metamorphosis, the places are
either in a state of change or destruction.
The characters and materials chosen for
the projects not only visually adapt and
harmonize with the architectural structure of
the building or landscape but also have a
conceptual connection with the places.
FOLLOW OHII ON INSTAGRAM @OHIIKATYA TO KEEP UP WITH THE LATEST ARTWORKS.
WWW.OHIIKATYA.COM
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ONE TO WATCH
LARASEVERA
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Redefining Knitwear, One Stitch at a Time
Welcome to our exclusive interview with LARASEVERA, the innovative knitwear brand that has set the
fashion industry ablaze with its groundbreaking designs. In this comversation, we delve into the
creative process and inspirations behind this up-and-coming label, as it takes the world by storm with its
debut collection.
LARASEVERA, founded by the visionary designer Lara Severa, challenges conventions and redefines
the perception of knitwear. What sets this brand apart is its ability to seamlessly blend timeless design
with a modern understanding of silhouettes and shapes. Lara's keen eye for magnifying the potential
of knitted fabrics has resulted in a collection that transcends traditional notions of knitwear, offering a
diverse range of unisex suits, coats, fine dresses, and accessories. The brand effortlessly combines the
comfort we associate with knitwear, with a distinct contemporary edge. The Spring/Summer 2024
collection from LARASEVERA is a testament to the brand's fearless approach to fashion. By fusing
unisex ready-to-wear pieces with avant-garde all-black knit couture, Lara Severa demonstrates her
audacious vision. Join us as we delve into the world of LARASEVERA, where tradition meets
cutting-edge innovation, and where the limits of knitwear are shattered, giving birth to a new era in
fashion. Take a front-row seat and prepare to be captivated by the magic woven with every stitch.
www.larasevera.com / @larasevera
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What was the inspiration behind LARASEVERA's
debut collection at Soho House Berlin?
The Inspiration for me for my first and my second
Collection is people and conversations. I love
making people smile with my knits and hearing
more what people like and just seeing what
everyone is wearing always inspires me to knit.
Plus I always love surprising people with Knits
that are “unusual” like knitted male skirts or
Pants.
Besides that, I just like to get inspired by the
Yarns and the Process itself. Sometimes I start
knitting and I don’t even know where it's going.
I just let myself “ flow “ and listen to Jazz music.
Sometimes the music just takes me to a place.
I actually designed some pieces just based on
a song.
Could you share the significance of showcasing
the new work on the opening day of Paris
Fashion Week?
It was definitely a dream come true for me.
Paris has such a big place in my heart as I am
originally a tailor and love the craftsmanship
of creating garments I always felt like Paris is
the right place for my brand. After showing in
Berlin and Los Angeles it felt only right to bring
my next Collection to Paris. But I have to say I
was nervous because the standards for PfW are
high and it was out of my comfort zone showing
my work in Paris. I was worried about getting ‘
accepted ‘into the Paris Fashion world for sure.
But it was such a beautiful experience and the
feedback has been amazing so I can’t wait for
the next.
How did LARASEVERA aim to redefine the
perception of knitwear through its Spring/
Summer 2024 collection?
Most people when they think of Knitwear
immediately think about nice colorful sweaters
and comfort.I try to show that Knitwear can be
more than a sweater that’s why I really tried
to create Unisex suits, Coats, Fine dresses,
sunglasses cases and all types of accessories.
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Can you elaborate on the fusion of unisex
ready-to-wear and all-black knit couture in the
collection?
Yes. I have been getting a lot more feedback
about how I have to kind of choose if I want to
do women's, men's, couture or RTW because
it doesn’t make sense to mix everything in one
Collection.
I just don’t like to be put in one box so
I tried to combine everything and still have it
harmonised with each other. I am a big Jazz
lover and when I knit, I always listen to jazz
and get inspired by the music. The collection is
like a jazz jam session. A bit all over the place
but at the end it still harmonizes. That's why
the Campaign shoot was shot on a stage and
we added a trumpet in some images. In the
end, the yarns and everything being knitted
combine everything.
What motivated you to personally handcraft
each garment in the collection?
To be honest, I do it all by hand because
I can’t afford to do everything with industrial
Machines. Sampling industrially is very
expensive. I've been wanting to do my own
brand for years and I kept having the excuse
I can’t do it because knitting with industrial
machines is too expensive. One day I just
decided I could still show what I can do with
the resources that I have. I started knitting
in my apartment nonstop. I do love making
things by hand and putting all of my love in
each garment. Long term I need to find a way
to industrialise part of it because it just takes
too long to do everything by hand.
How does LARASEVERA combine timeless
design with a modern understanding of
silhouettes and shapes?
I always try to “honour“ the heritage of
knitwear and craftsmanship behind it but at
the same time, I try to push the boundaries to
make it modern so it fits in the present fashion
landscape. Knitwear is still something very
timeless and I hope doing chunky knit pants
and other more unusual knitted pieces won't
lose its appeal through time and stay timeless
like a knit sweater. If that makes sense.
Can you tell us more about the traditional
knitting styles that you utilize in your designs?
I use anything from hand knitting with needles
and crochet. To handknitting machines that
I have in my Apartment. It is a very old school
way of knitting, back in the day a lot of our
grandmas would have a hand-knit machine in
their basement to knit sweaters or scarves.
I used to learn how to use them ten years ago
in my tailor apprenticeship.
You are very limited in what you can do
compared to industrial machines but it is still
a fun way of knitting and a way to knit finer
yarns.
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How do you go about selecting high-quality
yarns for your creations?
I go to Italy to one of the biggest yarn
trade shows called PITTI FILATTI and make
appointments directly with all the Italian
suppliers to see and touch the full Yarn
Collection. I also get sponsored with yarn by
Marc Cain which is the company that trained me
back in the day. They do all knit Production in
Germany with yarns from Italy. They sponsored
me with 1,8 tonnes of Italian Yarns they didn’t
need anymore.
That way it's more sustainable and I still get to
use Yarns that I usually couldn’t afford on my
own. High-quality yarns are very expensive.
I also started a GoFundMe to develop a yarn
custom in Italy to create a yarn that looks a bit
like fake leather for some of my looks.
What steps did LARASEVERA take to establish
itself as a globally connected brand?
I did three shows now in three different countries
from Berlin to Los Angeles and now Paris to gain
a wider audience. Knits are for everybody even
in Los Angeles where it's mostly warm.
I felt like whatever happened in Berlin took a
while Roget more attention abroad. For me,
after my first show here it was clear to me to
try everything I could to gain a more global
audience.
What message does LARASEVERA want to convey
about the potential of knitwear in the fashion
industry?
Knitwear is so much more than a sweater.
I feel like I said that now multiple time. But really
Knitwear is such a versatile medium for artistic
expression, Innovation but also sustainability.
Knitting is the most sustainable way of making
garments as you knit in shape and have no
waste. If more brands would do more knits the
fashion industry wouldn’t be one of the most
polluting industries in the world. The waste that
comes with cutting and sewing is such a big
problem.
Besides that knitting can be used in technology
and there are really endless possibilities. The
Machines nowadays are incredible. I can’t wait
to have my own machines one day hopefully
soon and show what more knitwear can be.
How does LARASEVERA's heritage as a
German brand influence its creative process?
A difficult question to be honest. I come from
a small town in southern Germany. When I
go home to my family in the black forest, it
definitely helps me to calm down and breathe.
Often when I come back to the city from being
home, I feel more clear and motivated to get
back to work. Life at home is more simple which
helps sometimes to get "back to reality" if that
makes sense.
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Could you describe the labour of love involved in
the handcrafting of each LARASEVERA garment?
It starts with sourcing the right yarn. Sometimes
I hand-dye them at home and hang up the yarns
on my balcony to dry. I start swatching to see
how the yarn looks knitted. From there I start
sketching or if I don’t think of something, I just
start knitting.
Then I start writing the knit pattern of each
pattern piece to knit in shape. I crochet or stitch
the pieces together. Sometimes I don’t leave the
house for days because I am in such a tunnel
with a knit. I even talk to the knits sometimes.
I hope that doesn’t make me sound crazy.
I really love each piece I make. They are now in
Paris at a showroom and I cried when I left them
there. They are all alone now so far away from
me.
What differentiates LARASEVERA from other
knitwear brands in terms of pushing the
boundaries of the craft?
When I started I looked at what is out there right
now to see what I could do differently, as there
as so many beautiful knitwear brands out there
right now. It was very focused on the female
market, colourful knits or had the old school
brands that make beautiful sweaters.
I saw a lack in the menswear market and in
full-knit looks. So knitted suits and pants. It was
really focused more on tops and dresses. That's
when I decided to focus on unisex and try to
really work on knitting full looks. But in general,
there are not that many fully Knitwear brands
out there. Most come from London, there are
some incredible knit designers. But as knit is so
expensive to sample most knit brands struggle or
start doing other products as well.
In what ways will LARASEVERA convince people
that knitwear is more than just knitwear?
I want to push more boundaries of traditional
knitwear and really show that anything can be
knitted. My goal is through the next years to
really build a knit universe that goes beyond
clothing.If you look closer you already see that
furniture for example is already a lot more knits
than most people realize. It gives me so much
joy spreading my love for knits and seeing
people get inspired to get some yarn and create.
Interview by Marcel Schlutt
Concept & Creative Direction: @lenaklennert
Photographer: @arnaud.ele
Photographer Assistant: @noemiebalazs_
Fashion Direction & Styling: @ahmedtohamyy
Models: @clumsy__b @akflowerboi
@hnnngspnhlz @chanelllla @highigherhai
H&MU: @labiosthetiqueparis_pro
@labiosthetiqueparis
@fritzenwanker @christinaoesterhaus
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A HOT CHOCOLATE FOR MORE JUSTICE
A SWEET COLLABORATION BETWEEN MONO AND
INTERNATIONAL JUSTICE MISSION GERMANY

In a harmonious blend of style and philanthropy, the renowned family
business Mono and International Justice Mission Germany (IJM) join
forces again, creating a delightful partnership that will captivate Mono
enthusiasts. With a touch of elegance, the Mono A cutlery series lends
its graceful coffee spoon to a special chocolate edition, ensuring that
100% of the proceeds go towards charity.
FROM COFFEE SPOON
TO CHOCOLATE SPOON
The birth of the Mono A cutlery series marked a pivotal moment in
establishing the Mono brand. Since its introduction in 1959, Peter
Raacke's timeless cutlery design has remained unrivalled. Now, the
Mono A family welcomes a new member, albeit temporarily: the coffee
spoon transforms into the chocolate spoon.
This elegant spoon gracefully dips into a portion of exquisite hot
chocolate. A solid chocolate cube, Fairtrade-certified and hailing
from a Dutch family business located a mere 200km from Mono's
headquarters in Mettmann, simply needs to be submerged in warm
milk and stirred, swiftly transforming into a cup of comforting hot
chocolate, perfect for cold days.
HUMANITARIAN BENEFIT
IJM holds steadfast in its commitment to protecting the rights of
marginalized individuals worldwide who suffer from extreme violence.
Focusing particularly on combating human trafficking and modern
slavery, IJM CEO, Dietmar Roller, emphasizes the organization's efforts
in addressing exploitative child labour in Ghana. The chocolate spoon,
a remarkable catalyst for change, ensures a 100% donation.
Each spoon sold enables a direct contribution of €30 to support the
tireless work of IJM's team in Ghana. Collaborating closely with local
authorities, this initiative has already secured the rescue of numerous
children from inhumane conditions and has brought perpetrators to
justice. "Countless boys and girls are denied the joy of education and
play as they are forcefully coerced into labour," adds Dietmar Roller.
"The spoon's donation empowers our work, granting more children
a life of safety.
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STYLISH IN BLUE
At the heart of the Mono A series lies its iconic minimalism: clean lines, functional stainless steel,
and a silky matte finish. The Mono x IJM chocolate spoon adheres to this elegant design philosophy,
demanding attention with its remarkable features.
The front of the handle end features a dishwasher-safe screen print in the visually pleasing IJM blue,
capturing the imagination with a touch of charm. Further enchantment awaits upon closer inspection,
as the back of the handle bears a distinctive laser engraving—a captivating seal of unity between both
partners, akin to a signature of their commitment. The IJM x Mono chocolate spoon is not merely a
meaningful product—it is a charming gift that serves a triple purpose. It offers the perfect gift idea,
eschewing unnecessary consumption in favour of supporting a worthy project. Simultaneously, it
tempts the senses as a delectable culinary delight, soon becoming a cherished favourite for the lucky
recipient.
THE MUCH-AWAITED LAUNCH IS SET FOR NOVEMBER
7TH, 2023, PROMISING TO ENRAPTURE HEARTS AND
TANTALIZE TASTE BUDS ALIKE.
The IJM x Mono Chocolate Spoon is a product that is both useful and charming, serving a triple purpose: a
perfect gift idea without unnecessary consumption, a donation to a worthy project, and a delightful temptation
and new favorite spoon all at once.
PRICE: 30 EUR
DONATION PORTION: 100%
www.mono.de
@monogermany
www. ijm-deutschland.de
@ijm_deutschland
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IN CONVERSATION WITH
NURA
KALTBLUT caught up with German musician, actor and
bestselling author, Nura, to delve deep into the thought
processes behind her work, the challenges she faces in
the industry, and what’s next on her musical
horizon.
While her new album features an eclectic mix of sounds
and vibes, its genesis and inspiration are deeply rooted
in Nura's own experiences and beliefs. From collaborating
with her dog, to a surprise jazz-inspired track, and a fearless
statement made with her album cover, Nura’s creativity
knows no bounds.

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"I SEE MYSELF
FIRST AND FOREMOST
AS A BLACK WOMAN
IN RAP, WHICH IS HOW
I POSITION MYSELF."
Let's talk about your new album “Periodt”, out since
October, 6. Your dog Chili is also on it. How did that
collaboration come about?
In fact, Chili is featured in the song “Bella” with a really
loud bark. It wasn't easy to record her barking, I had to
beg for it. I wanted her to have a proper artist credit,
featuring Chili But dogs are not registered with GEMA.
Crazy, right? Registering her would have taken a lot of
time, which meant the release would’ve been pushed
back. For me, this is 100 % a reason to postpone an
album, but I can't release the album after the tour...
so: sorry Chili, next album.
Your album contains different sounds and vibes.
Was that intentional?
All in all, I have been working on “Periodt” for over
one and a half years now. Other musicians have a read
thread following through their albums, I don't think I ever
had that, not with any album. I make the music I'm in the
mood for at that moment, which means different phases
of life come together. I don't need a concept for that.
Some songs are out there, some are calmer, and others
are statements through and through.
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Musically, the song “Diego” stands out with its
jazzy vibes. What inspired you to write it?
At some point, I heard a melody on the way to the
studio. It was Radio Paradiso-like, and I had this rhythm
in my head all day. I recorded this kind of elevatorstyle
music in the studio and rhymed everything with the
same ending as a joke. The whole thing came about as
a freestyle and fun song. I sent the track to friends and
suddenly everyone had it stuck in their heads.
The song wasn't originally supposed to be on the album
either, but one thing led to another. In the end, I'm very
happy the song that took me the least time to write and
came out of nowhere is now part of the album. It proves
there are no rules. Nobody can tell me I am a rapper,
a songwriter or a singer. I don't have to make a certain
kind of music.
I like to try out different things and find out what suits
me. If I wanted to, I could do Schlager tomorrow - that
would be a shame for Helene Fischer, though.
Is there a Diego out there, or is he fictional?
If he exists and someone feels addressed, send them
through to me! My girls asked me: where is Diego? In the
end, the song is an appeal to the male world: it doesn't
take much to treat a woman well. It's not about "buy me
Gucci, a car and all of Dubai".
It's sweet and nice when a man takes you home at night,
asks if you´ve arrived safely, or holds the door open for
you... be attentive and a nice, good person – it doesn´t
matter what gender you are.
Meanwhile, women are slowly more represented
in German Rap. Do you see it as a challenge to be
represented as a queer woman?
I see myself first and foremost as a Black woman in
Rap, which is how I position myself. You don't see
my queerness directly on my face, but my blackness.
Although I don't want to make it a topic in every song, at
the end of the day, that's my reality, my life.
This perspective is part of my music because I like to talk
about it, and I think it's important, not because the public
expects me to be. Other people write diaries,
I write down my thoughts and make songs out of them.
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Some people might take this as activism,
but it’s your story.
It's funny that people call my music activism.
I don't think it's activism, it's human. Making sure
everyone has the same chance, and that everyone is
treated equally so no one disadvantaged. Just be nice
and sweet. It's such a beautiful thing!
It's nice to look out for other people. People often don't
care, and I think we've also become jaded in this respect
through social media.
In this context, do you have the feeling that you
have to act as a role model for your community?
I don't want to be a role model, because I know I'm just
not in many ways. I have never wanted to be.
I make a lot of mistakes, I'm sometimes irresponsible,
and I don't like to be put on a pedestal. That's why
I don't even try to live up to a standard that doesn't
suit me.
I’m a bit of a troublemaker, I don't want to let anyone
take that away from me. I'm also not a role model when
it comes to my health - my music and my work always
have priority, and I often put myself in the back of the
queue. When it comes to charity and humanity though,
you can learn something from me.
It's hard for me to say no and it gives me an incredible
amount of love to give back to my community. For
example, when someone is happy that I reply on
Instagram, it makes me happy, too. Even if it's often
unimaginable for me because I don't see myself that way.
I could never cancel a concert either. I want my shows to
be a blast and for people to get their money's worth.
There will be one or two features on the album.
Among other things, you did a song together with
your brother for the first time. How did that come about?
We've had the idea for a long time and our mum has
asked us so often why we don't make music together.
He's just starting again. He used to do street rap under
the name Moe Stwanted, which didn't fit with my music.
Now, under the stage name Yung Madara, I have
brought him on board. The Song “10 Million” was the
first time he worked on a political song. Being in the
studio with him and bringing everything together was a
great experience. I am very proud and happy he’s on
two songs on the album.
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"IF YOU'RE NOT BLEEDING
YOURSELF, KEEP YOUR MOUTH SHUT
- YOU HAVE NO IDEA WHAT IT'S
LIKE TO ENDURE THIS PAIN EVERY
MONTH OR TO BE AFRAID OF BEING
LAUGHED AT FOR IT."
With a new album comes a new aesthetic. Your
new album cover is a statement in itself. What
do you associate with it?
The album itself is very feminine, which is why it's called
“Periodt”. The blood, the nudity, it's provocative. A nude
photo still triggers certain people. I think the picture is
very aesthetic, and that it can be taken as
a provocation ultimately says more about our society.
The fact that bleeding and menstruation are still partly
taboo simply cannot be. I grew up with the disgust for it
that men, in particular, instilled in me. That people who
don't bleed allow themselves to judge upset me.
If you're not bleeding yourself, keep your mouth shut -
you have no idea what it's like to endure this pain every
month or to be afraid of being laughed at for it. That's
exactly what happened to me, I don't want to do that
anymore, and that's why this album cover exists.
Besides the new album and the tour, are there any
other projects in the future?
For me, after one and a half years, the album is no
longer new, I need new music now. I like to experiment
with beats, and I tried new things on this album. I still
want to do that, and I can only say this much for the
future: I'm up for going in the direction of Drum'N'Bass.
FOLLOW @NURA ON INSTAGRAM
THIS INTERVIEW WAS CONDUCTED A WEEK BEFORE THE RELEASE OF NURA’S ALBUM.
PHOTOS BY UNIVERSAL MUSIC & TATSIANA TRIBUNALOVA
@TATSIANATRIBUNALOVA
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BERLIN
TRASH
COUTURE
PHOTOGRAPHY: NICKY DE SILVA / WWW.NICKYDESILVA.COM / @NICKYDESILVA
TALENTS: GIA / MART / JACQUELINE
DESIGNER: ADAM SHAZARD SUNDBOO / KLEIDUNGS|WERK / @KLEIDUNGS_WERK
HAIR & MAKEUP: LOUISE BRUUN / @LOUISEBRUUNMAKEUPARTIST USING KEVIN MURPHY
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„Coming from the underground club scene in Berlin, we introduce to you, a view into the creative nature of
expression through music , performance, design and visual art in the gothic subculture. Our models in this
story live this every night through performance art and dj’ing in the clubs of Berlin. Here dressed by
Kleidungswerk by Danish-Pakistanish designer Adam Sharzard Sundoo throughout the images.
The gothic expression find new ways of being and developing. Shot by Danish photographer Nicky De
Silva in his studio in Copenhagen together with hair and makeup artist Louise Bruun.“
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Photo courtesy of Guggenheim Bilbao
194

PICASSO SCULPTOR:
EXPLORING MATTER
AND BODY IN THE ART WORLD
Guggenheim Bilbao presents an extraordinary exhibition that will
captivate art enthusiasts, immersing them in the groundbreaking world of
Pablo Picasso. The mesmerising exhibition, titled 'Picasso Sculptor: Matter
and Body', will run till January 14, 2024, marking a significant milestone in
the artistic legacy left by the renowned artist.
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In 2023, Guggenheim Bilbao commemorates the fiftieth anniversary of Picasso's passing, igniting a year
filled with appreciation for his invaluable contributions to the artistic realm. France, Spain, and various
international communities join forces to celebrate the profound impact of Picasso's work.
Today, as we celebrate his enduring legacy, it becomes essential to reflect upon the relevance and
significance of his artistic creations in contemporary Western modernity. This exhibition seeks to
showcase the living, accessible, and timeless nature of Picasso's works.
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The 'Picasso Celebration 1973-2023' is a collaborative initiative led by the Musée national Picasso-Paris,
serving as the primary contributor and coordinator, in conjunction with Bernard Picasso, the artist's grandson
and president of FABA and the Picasso Museum in Malaga. In Spain, support is extended by the Spanish
National Commission for the 50th anniversary commemoration of Pablo Picasso's demise. This grand event
comprises approximately fifty exhibitions and a series of events hosted by esteemed cultural institutions across
Europe and North America. Together, these gatherings offer fresh interpretations and approaches, shedding new
light on the study and understanding of Picasso's artistic oeuvre.
Thanks to the combined efforts of the French and Spanish governments, a bilateral commission has been
established to ensure a seamless collaboration in this significant transnational event. Throughout the year,
official celebrations in France and Spain will punctuate this commemoration, culminating with an international
symposium in the autumn of 2023, coinciding with the opening of the Picasso Study Centre in Paris.
This celebration serves as a tribute to Picasso's enduring influence and paves the way for the future
Musée national Picasso-Paris.
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The cornerstone of this extraordinary exhibition,
'Picasso Sculptor: Matter and Body', curated by
Carmen Giménez, accompanied by Lucía Agirre,
captures nearly sixty years of Picasso's sculptural
endeavors. Offering a unique artistic perspective,
this exhibition navigates through Cubism,
abstraction, primitivism, and the incorporation of
found objects. One cannot help but marvel at the
interdisciplinary inspiration reflected in Picasso's
prodigious body of work.
Throughout his artistic journey, Picasso fearlessly
defied conventions by seamlessly merging various
artistic modes. Although sculpture may be his
lesser-known domain, glimpses into Picasso's
personal spaces, captured in numerous photographs,
reveal a constant presence of sculptures in
his intimate surroundings. These sculptures,
cherished additions to his private collection, served
as testaments to his boundless creativity, brought
to life through diverse materials such as wood, iron,
plaster, cement, metal, and bronze.
Presented by the Guggenheim Museum Bilbao in
collaboration with the Museo Picasso Málaga,
'Picasso Sculptor: Matter and Body' forms an
integral part of the international program, the
Picasso Celebration 1973–2023. Generously
supported by the National Commission for the 50th
Anniversary Commemoration of Pablo Picasso's
passing and with the exceptional collaboration of
the Musée national Picasso-Paris, this exhibition
promises an immersive artistic experience.
Telefónica joins as the Collaborating Company in
Spain, further enriching this extraordinary
celebration of a true artistic genius.
Step into the enchanting world crafted by Picasso
himself, exploring the intricate relationship between
matter and body through his remarkable sculptures.
Witness the convergence of painting,
drawing, engraving, ceramics, and sculpture, as
Picasso seamlessly transcended boundaries and
ignored the limitations imposed by
conventional norms. Join us on this awe-inspiring
journey as Guggenheim Bilbao pays homage to the
indomitable spirit and irreplaceable artistry of a true
visionary - Pablo Picasso.
FIND OUR MORE ABOUT THIS EXHIBITION
VIA WWW.GUGGENHEIM-BILBAO.EUS
@MUSEOGUGGENHEIM
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Graphic design concept: Stefaniia Bodnia and Aliona Ciobanu - Courtesy of the Kyiv International Biennale.
Against the Logic of War
The fifth edition of Kyiv Biennial will be international and will take place
in Kyiv, Ivano-Frankivsk, Uzhhorod, Vienna, Warsaw and Berlin.
In view of the brutal Russian attack on Ukraine, a comprehensive biennial
project in Kyiv long seemed deeply uncertain, if not impossible. But, with
a cascade of openings – starting in Kyiv and Vienna in October 2023,
finishing in Berlin in 2024—the fifth Kyiv Biennial will take place.
This Biennial editionis conceived as a European event, with dispersed
exhibitions and public programs in a number of Ukrainian and EU cities,
and realized in partnership with leading
European institutions in the field of contemporary art.
Find out more via 2023.kyivbiennial.org or @kyivbiennial
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How can a country at war address
political, social, cultural and societal
issues?
Today, the experience of artists and cultural workers
in Ukraine is profoundly marked by war trauma,
displacement, lack of access to basic resources and,
in many cases, direct involvement in armed resistance
or the experience of life under military occupation.
This poses existential challenges for the future of art
and cultural production in Ukraine.
Europe-wide solidarity commitment of
various art institutions.
"Instead of abandoning the project and thus
submitting to the logic of war that attacks everything
civil, the 2023 Biennial draws upon its founding
idea: that of being a multi-centric initiative in a
European, interconnected and solidary form."—said
the organisers of the Kyiv Visual Culture Research
Center and the curators of the main exhibition,
Serge Klymko, Hedwig Saxenhuber and Georg
Schöllhammer, who had to plan the concept and
format of the Biennial on short notice and anew.
Art institutions in Ukraine (in Kyiv, Ivano-Frankivsk
and Uzhhorod) organise presentations and events in
their endangered yet working infrastructures. Despite
the late start of planning due to the war, museums
and exhibition halls in Vienna (the main exhibition
spot), Warsaw and Berlin, together with venues in
other European cities, have freed up their spaces and
platforms for exhibitions and events with Ukrainian
and international artists, as well as for discursive,
performative and educational activities.
Together, the institutions have formed a curatorial
consortium to jointly create a conceptual framework
within which they develop their respective Kyiv
Biennial programs.
Bridge between European and
Ukrainian artistic communities –
towards an emancipatory future
The Kyiv Biennial 2023 is aware of the special
challenges of the project. Its intention is to reintegrate
the Ukrainian artistic community, divided by the war
and scattered all over Europe, and to enable its
actors to work and reflect together with international
colleagues on the cultural, social and environ- mental
challenges Ukraine is currently facing, while at the
same time creating images and scenarios for an
open and emancipatory future of the country and its
cultural field in a global context.
The Kyiv Biennial´s strategy, developed in the
course of its four previous editions, merges artistic
production, critical knowledge and social engagement
in the times of emergency, where curatorship goes far
beyond its contemporary meaning of an artistic and
organisational practice and becomes resignified with
its original sense of restoration, rehabilitation and
relief, thus suggesting not a biennial, but a perennial
long-run international project, a “Kyiv Perennial.”
Kyiv Biennial 2023 is conceived and organised by the
Visual Culture Research Center (Kyiv) together with
tranzit.at (Vienna), tranzit.org (Bratislava, Budapest,
Bucharest, Cluj, Iași, Prague and Vienna), Museum of
Modern Art in Warsaw, Museum Crisis Center (Lviv),
Other Edges, Dovzhenko Centre (Kyiv), Asortymentna
Kimnata (Ivano-Frankivsk) and Sorry, No Rooms
Available (Uzhhorod).
Venues:
Kyiv, Ukraine:
The River Wailed Like a Wounded Beast
Curators: Stanislav Bytiutskyi, Aliona Penzii,
Oleksandr Teliuk
Dovzhenko Center, Vasylkivska, 1
Runtime: October 5 – December 29, 2023
Ivano-Frankivsk, Ukraine:
On the Periphery of War
Curators: Alona Karavai, Roman Khimei,
Yarema Malashchuk, Anton Usanov
Asortymentna Kimnata, Sichovykh Striltsiv, 15
Runtime: October 7–30, 2023
Uzhhorod, Ukraine:
Where Are We Now, After All Those Endlessly
Repeated Words?
Curators: Petro Ryaska, Daria Shevtsova
Sorry No Rooms Available, Intourist-Zakarpattia
Hotel, Ploshcha Kyryla i Mefodiya, 5
Runtime: October 8 – November 12, 2023
Vienna, Austria:
Main exhibition
Curators: Serge Klymko, Hedwig Saxenhuber
and Georg Schöllhammer
Augarten Contemporary, Scherzergasse, 1A
and independent spaces in Vienna
Runtime: October 17 – December 17, 2023
Warsaw, Poland: Museum Forum:
Ukrainian Museums In the War Between russia
and Ukraine: Professionalism, Cooperation,
Solidarity
Curator: Olha Honchar
Museum of Modern Art, Wybrzeże
Kościuszkowskie, 22
Event Date: October 23, 2023
Lublin, Poland:
This Is Just an Exhibition
Curator: Waldemar Tatarczuk
Galeria Labirynt, J. Popiełuszki, 5
Runtime: October 27 – January 22, 2024
Antwerp, Belgium:
DISPATCHES postcard project
Curators: Nav Haq, Vasyl Cherepanyn
M HKA (Museum of Contemporary Art Antwerp),
Leuvenstraat, 32
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Glasses: Komono, Top: Theory
PHOTO & RETOUCHING BY ANGEL RUIZ / @ANGELRUIZ_STUDIO
MODELS ARE CARLO S. / @CARLOPENNETTI
AND SERGEY S. / @XSYLANCE
BOTH SIGNED AT AGENCY BENTŌ / @BENTOMODELS
CREATIVE DIRECTION: ANGEL RUIZ / @ANGELRUIZ_STUDIO
AND FERRAN BOU / @FERBOU_
MAKEUP & HAIR BY IBAR VACINO / @VACINO_OFFICIAL
STYLING ASSISTANTS ARE ARIANNA PAVÍA AND FRAN ROJAS
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EUZEN

Jacket: Madison.maison
Shirts: Munthe, Cos, Vintage Polo Ralph Lauren, & Other Stories
Shoes: Martinelli, Jewelry: Colección Privada
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Blazer: Secondland
Gloves: Mandarina Duck
Belt: Colección privada
Skirt: Ferran Bou
Shoes: Martinelli

Shirts: Munthe, COS, Amir Slama
Shoes: Martinelli
Jewelry: Colección Privada
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Hat: Golden Goose
Shirt: Munthe
Jewelry: Colección Privada

Glasses: Komono
Top: Theory
Bag: Jimmy Choo
Pants: Vintage Givenchy,
Vintage Bellido
Shoes: Martinelli
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Glasses: Vintage Spalding
Jacket: Arianna Pavía
Shirt: COS
Pants: Vintage Givenchy
Shoes: Martinelli

Pants: Vintage Givenchy, Nike, Vintage Bellido
Shirts: COS, Scalpers, Vintage Tom Ford
Shoes: Martinelli
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Hat: Golden Goose
Shirt: Munthe
Coats: Erika Cavallini,
Pierre-Louis Mascia
Shoes: Martinelli
Jewelry: Colección Privada

Jacket: Madison.Maison
Shirts: Munthe, COS, Vintage Polo
Ralph Lauren, & Other Stories
Shoes: Martinelli
Jewelry: Colección Privada
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BWA WROCŁAW
EXHIBITIONS ON THE
REVOLUTIONS OF MATTER
OTHERWORLDS AND
EXTRACTION
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ANNA ORŁOWSKA and MICHAŁ ŁUCZAK have teamed up for the joint exhibition on the
Revolutions of Matter: Otherworlds and Extraction at Wrocław’s BWA Galleries of
Contemporary Art. As one of the media partners, KALTBLUT has travelled to the scenic
town in Lower Silesia to experience the exhibition where the two artists are taking visitors
on a journey through history and present of the prosperous region. The exhibition – divided
into two sections – is located on the second floor of the city’s train station: Otherworlds by
Anna Orłowska and Extraction by Michał Łuczak.

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OTHERWORLDS
Anna Orłowska’s ‘Otherworlds’, curated by Katarzyna
Roj, BWA’s programme director, delves into a personal
exploration of history and presents a haunting journey
embarked upon by the artist herself. “I’ve always been
interested, to some extent, in my family's history –
especially that which relates to the place this
exhibition is about: an old water mill on the Mała
Panew River in the Upper Silesia region. This holds a
special significance. Once entirely self-sufficient, it's
deeply embedded in my family's collective memory and
has been in our possession for over 120 years,” she
says, and continues, “some years ago, I worked on a
family genogram – a detailed form of a family tree,
mapping familial connections, behavioural patterns,
and recurring ailments spanning several generations.
Delving into past tales and truths has expanded my
perception of what we term "our roots".
I started to see this intricate web of stories – both old
and recent – as a unique realm, which I named the
‘Otherworlds’. These ‘Otherworlds’ are inhabited by
the departed. I recognised I had a choice – to maintain
my bond with the 'beyond' or distance myself.
I opted for the former because It enriches my reality,
even though no one provided me the means to nurture
such ties with the deceased. We're raised on the
principles of memory and the theory of mourning –
something to be processed and moved past. This
exhibition became a medium to invoke my ‘Otherworlds’.
In this light, the Watermill stands as a metaphor
for the family system and the passage of time, dictated
by the ebb and flow of nature.”
She guides us to this watermill in Żędowice, a place
that has remained consistent throughout generations,
consequently becoming an intrinsic part of her family's
heritage. ‘Otherworlds’, along with Orłowska’s family
history, is interwoven with elements of water, forest, and
bog iron – a resource commonly utilised for iron
smelting in the area.
Iron is a resource prominently featured in the artist’s
history and the exhibition. Beyond photographs of her
contemporary family members, the display includes
fabric pieces such as curtains and transmission belts.
During warmer periods, she sourced photos from her
family archives and submerged them in a creek,
together with various fabric items. This approach
yielded unique imprints and rusty shades that exude an
otherworldly allure. However, iron's significance isn't
limited to its role as the primary ingredient in steel, a
material Orłowska employed in parts of her exhibition.
It also had a crucial role in life's evolution on Earth,
being a key component of haemoglobin, which facilitates
oxygen transportation in our bloodstream.
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But how and why has she decided to use the iron-heavy water for her art? “A few years ago, I used a creek
to dye fabrics with photographs printed on them. This marked the beginning of a multi-year process of
experimentation and collaboration with this red-coloured forest laboratory. It became my darkroom, where
I developed visual qualities that were new to me. Additionally, working with fabric introduced entirely new
possibilities; it is an extremely malleable yet durable material. I felt a desire to work more independently, using
my hands, and to engage deeply in a physical process. The fabric and the red spring provided that opportunity
for me.”
In addition to the exhibition at the train station, Orłowska invites visitors to a hidden room, around a 20 minute
tram journey from the train station. Within the ancient wooden walls of the St John of Nepomuk church lies the
"Hidden Room", serving as
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EXTRACTION
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Have you ever considered where the energy you use
daily originates? It might come from gas, oil, or
renewable sources. If you live in Germany or Poland,
it's highly likely that it was sourced from coal mining.
According to the European Commission, nearly 65%
of the European Union's hard coal consumption in
2022 came from Poland (38%) and Germany (25%).
But what is it like to live in a coal mining region?
Photographer Michał Łuczak delves into the
narrative of coal and its life cycle with his exhibition
titled ‘Extraction’, the second instalment of the joint
display, "Revolutions of Matter". Curated by Maciej
Bujko, BWA’s director, I had the privilege of
experiencing Łuczak’s showcase alongside Bujko.
Over the past eight years, Łuczak has documented
the mine's impact on the human body, environment,
material culture, soil, and landscape. Residing in
Upper Silesia, where coal mining is still an active
industry, Łuczak is deeply familiar with its
repercussions, which are portrayed in ‘Extraction’.
The exhibition begins with a stark contrast: a miner’s
body juxtaposed with sections of the socialist monument
of the Mining Labor Monument in Katowice,
highlighting the disparity between the worker and
propaganda. Beyond photographs, ‘Extraction’ offers
visitors an olfactory experience of the mines and
neighbouring villages, courtesy of custom-made scents
by Monika Opieka. Alongside the effects on people,
Łuczak reveals the impact on housing. Photos, one
intentionally hung at an angle, paradoxically make
the depicted houses appear upright. Bujko elucidates
that this was a conscious decision to convey the pronounced
tilt of the actual homes.
Accompanying the exhibition are essays and excerpts
by writers, historians and scholars in the likes of
Joanna Kobyłt, Szczepan Twardoch and Piotr
Zdanowicz, to name a few.
Łuczak and Bujko conclude the exhibition with two
photographs: one capturing a coal mining area
after ten years and another after a century. The latter
unmistakably demonstrates that nature will ultimately
reclaim its domain, “with no remnants of mining but
with traces of human activity. Like a DNA left, but
dinosaurs, replicated in nature will this day. Earth is
regenerating herself quickly but it absorbs sour doings.
In a way, it is our legacy and what will be left of
us after we become extinct”, concludes Bujko.
Review by @johannaurbancik
Photos by @anna_orlowska
and @michal__luczak
Photo of Anna Orłowska by Łukasz Sokół.
Curated by @krojczy and @maciejbujko
Follow @bwawroclaw or visit their website
to check out current and future exhibitions.
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WHEN
DID
IT
END?
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Photography and styling: JULIAN FREYBERG @julianfreybergphotography
Hair and Make Up: SOPHIE LERCHE @sophielerchemakeup
Model: MAXI / Kult Models

TOP BY 032C
TROUSERS VINTAGE
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TOP BY MOON CHANG
SKIRT BY MAISON MARGIELA
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BODY SUIT BY VIVIENNE WESTWOOD
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LEFT: SUIT BY IIQUAL
RIGHT: HAT BY ETUDES
TOP 236 BY MINOAR

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SHIRT AND PANTS BY MINOAR
BOOTS BY HUNTER
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SUIT BY IIQUAL
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COAT BY STUDIO ID
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A BETTER MISTAKE X ELECTRONIC BEATS INTRODUCING FKA.M4A:
THE INTERSECTION OF MUSIC, ART, AND ALTERED EGOS
fka.m4a
Welcome to the world of fka.m4a, a groundbreaking
artist whose mixes have taken Europe's dance music
scene by storm. But there is more to fka.m4a than just
the music. With a passion for self-expression and the
exploration of altered egos, fka.m4a goes beyond the
beats to create a truly immersive experience.
"Altered Egos," a collaboration between Telekom
Electronic Beats and A Better Mistake, celebrates the
diverse personalities that emerge through digital
platforms and telecommunication. fka.m4a identifies
with this concept, acknowledging that altered egos exist
in every aspect of our lives, from our online presence to
our social interactions. It is in these altered egos that
we find our most relaxed and authentic selves.
In a world dominated by technology and social media,
where filtered images and edited posts distort
reality, music emerges as a counterbalance. fka.m4a
believes that music offers a genuine, passionate, and
emotional experience. Artists may create personas that
differ from their everyday lives or perform sounds that
grant them freedom from anxieties. It is through music
that fka.m4a seeks to evoke a sense of authenticity.
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Fka.m4a, your mixes have become a staple in Europe's
dance music scene. How do you use music as a form of
self-expression?
Music to me is the thing that accompanies me in all forms
of the day and night, there is always music playing in my
house, in my mind... in my heart... I use music for
self-confidence, for reassurance and for inspiration.
In your opinion, how does music allow individuals to
explore and embrace their altered egos?
Music has the power to take us to different universes if we
truly allow it to do so, we transcend when we really allow
ourselves to surrender. There’s music really for every mood,
every ego / headspace that you’re feeling. Isn’t that what
exploring altered egos is all about?
“Altered Egos”, the collab between Telekom Electronic Beats
and A Better Mistake celebrates the different personalities
that arise through digital platforms and telecommunication.
How do you interpret the concept of "Altered Ego" and how
does it resonate with you?
We all have altered egos, especially on our digital platforms,
when we’re out socialising... when we’re even walking the
street! There is always an element of “stepping out” into our
alternate egos, our social ego, I believe. Whether it be a
specific outfit you want to wear or posting a selfie that looks
better than the 100 others that you took. I truly believe that
we are at our most relaxed form in private, at home, in our
own world.
Technology and social media platforms like filters and edited
posts often portray a distorted version of reality. In what
ways do you think music can counteract this by offering a
more authentic human experience?
For me, music is authentic, it’s real and it’s about passion
and emotion. That is what I seek when I explore more as an
artist and listener. Music in some ways can offer an altered
version of the reality too. Artists may create a “persona”
that is very far from who they are in their daily existence or
perform the sound that offers them freedom from their day to
day anxieties, for me that is altered ego too.
The "ALTERED EGO" collection aims to invite individuals
to embrace their complexities within a world of evolving
expressions. As an artist, how important is it for you to
encourage self-discovery and self-awareness through your
music?
This is my foundation; nothing is more important to me.
I consider myself a very approachable, relatable, real
human being – who faces troubles, has trauma, is trying to
just navigate their way around this fucking life. I always say
that the single emotion I want to evoke on a dancefloor or
through production is melancholia, because melancholia is
sadness, its nostalgia, its love, it’s happiness.
I want people to connect with themselves, to trust me to
guide them to their subconscious. Whether it evokes their
alter or altered ego.
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The Limited Ed. Capsule Collection features a print
designed by Vakho Jappari. How does collaboration
between artists from different mediums, such as
music and visual arts, contribute to a more holistic and
impactful creative experience?
It is so important that these collaborations exist. We all
as artists have very powerful tools individually that can
complement each other very well for a bigger picture.
I am such a lover of the collaboration between sound
and fashion, between sound and visual/lighting. When
we come together the experience that is created is sense
tingling.
A Better Mistake supports a production system that offers
utmost excellence and combines rich fabrics with limited
quantities of garments. How does this attention to detail
and exclusivity align with your artistic vision?
Thoughtfulness is a very important approach for making
people feel special. We live in a modern day where all
validation and success is about intensity: forever more,
bigger crowds, higher number of interactions, getting
more wealthy... When people feel exclusive - they feel
special. If I think about what this means in connection
with my artistic vision, I like to connect with individuals.
I love to look in the eyes of the community, have
moments with them one by one. I love to talk to them
and hug them. It’s about making people feel special and
connected.
With digital platforms allowing individuals to experiment
with different versions of themselves, how do you think
fashion and personal style play a role in the expression
of one's altered ego?
Fashion is the expression of recreating ourselves. I have
such a variety of clothes from the simplest/ blend in stuff,
to the most progressive designer clothing. Fashion allows
me to tap into different altered egos and feel different
fantasies let’s say! Ha!
As an artist who has performed at renowned events like
Berghain and Boiler Room, how do you see the interplay
between music and fashion in these immersive and
dynamic environments?
My aesthetic style and music go hand in hand. I like to
dress to compliment the music I play and enjoy making
the effort to put a good outfit together. It supports my
self-confidence. I like to tap into my expression through
both fashion and music – I feel that these spaces offer all
types of expression and freedom. For me, in a space as
safe as Berghain, there are no limits in exploring just how
many altered egos one may have.
Looking ahead, what can we expect from Fka.m4a in
terms of future collaborations or projects that further
explore the themes of self-expression, altered ego, and
the interplay of music and fashion?
You can always be sure that as long as I am an artist
and creating, I will constantly be striving to create things
that Inspire people to explore themselves on a deeper
level. There is so much to us waiting to be explored,
we just must dive in.
When it comes to immersive and dynamic
environments like Berghain and Boiler Room,
fka.m4a recognises the interplay between
music and fashion. Their aesthetic style
merges harmoniously with their music,
enhancing self-confidence and becoming their
ultimate expression of creativity. In these
spaces, there are no limits to exploring the
multitude of altered egos that reside within.
Looking forward, fka.m4a promises an exciting
future filled with collaborations and projects
that further explore the themes of
self-expression, altered ego, and the interplay
between music and fashion. As long as they
continue to create, fka.m4a will inspire
individuals to dive deeper into their true
selves, uncovering the unexplored potential
that awaits.
Immerse yourself in the world of fka.m4a
and embark on an exhilarating journey of
self-discovery, where music, fashion, and
altered egos intertwine in a harmonious dance
of expression, authenticity, and exploration.
Interview by Marcel Schlutt
Follow fka.m4a @fka.m4a
Electronic Beats @electronicbeats
A Better Mistake @abettermistake
All photos by Telekom Electronic Beats
Photographer: Nils Leon Brauer
@nilsleonbrauer
Hair & Make-Up: Fabienne Hoppe
@fabienne_hoppe
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Photography by David Kaminsky www.davidkaminskyart.com / @david__kaminsky
Creative Direction and video by Zack Gafin www.zackgafin.com / @zackgafin
Styling by Aliesha Hatalovsky www.alieshahatalovsky.com / @aliesherz
Brown Faux Fur Boots by Rick Owens
EXCESS
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ELEMENTAL

Elemental excess provocatively contrasts extravagant fashion
with our planet’s plight. Symbolic frozen elegance meets
fervent action, highlighting the environmental toll of fast
fashion, underscoring the urgency of curbing overconsumption
and addressing climate change.
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left: Black Sunglasses by Chanel
right: White Blaze Sunglasses by Yves Saint Laurent
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White Neysa Necklace by Vivienne Westwood
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BERLIN
SANTES
Photography: Sebastian Kiener @lynxstudio.productions
Lighting Assistant: Ney Tran @neytran
Hand Painted Backdrop: Grüneberg @ilka_bckdrops
Santes: Darvish @thedarvishofficial
Robyn @itsrobynrobin
Barry Brandon @thequeerindigo
Lewks - All clothing and pieces are available at The Code @the_code_berlin
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IN CONVERSATION
WITH BARRY BRANDON
"THE QUEER INDIGO"
Your art has been described as stunning
and captivating. Can you tell us about the
inspiration behind your unique style?
Thank you! That’s kind of you. To be honest,
what I try to convey is the freedom to be.
Self-expression to the front in a way that
makes you feel free to be. I approach most of
my collaborations from a perspective of the
individual community by way of togetherness
mixed with individuality.
Many of your pieces explore themes of
queerness and identity. Could you share with
us your vision for using art as a medium to
express these important topics?
Through some trauma many years back when
my words were mixed and used against me,
I turned to a visual medium to represent
messaging without words. I am getting back
to a place of using my voice more but my
medium for the last 4 years has been imagery
and videos that allow people to interpret as
they wish through internal strategic curation.
Your work has garnered a significant following
and admiration. How do you feel about the
impact your art has had on the audience and
the queer community?
I am taken a back by the love and admiration
because, for me, I am just being myself and
expressing myself as such. I quickly learned
the importance of visibility when my first video
went viral and I was receiving messages about
what the representation meant to people.
Can you tell us a bit about the collaboration
between The Queer Coven and Darvish and
Robyn for the photo shoot?
Sure! I love them both a lot and think the
world of them as individuals as well as their
body autonomy and ownership over self. I
was travelling to Berlin over Pride and knew
I wanted to collaborate with them. Sebastian
Kiener, photographer, and I were chatting via
IG. I had an idea to put something together
for us in a studio setting and what you see is
what happened. We shot all of the photos in
about an hour, maybe even less if I am not
mistaken, because Darvish had something like
3697354 bookings that weekend.
What was the inspiration behind the concept
for this specific photo shoot?
Queerness,
Togetherness.
Expression.
Could you share some behind-the-scenes
details about the process of bringing this
project to life?
Darvish and I had visited The Code to pull
the lewks. I am allergic to latex so I had to
stand outside, essentially in the door of The
Code to try things on because their store is
full of fabulous latex lewks I remember being
just about naked while people walked by in
Berlin. Robyn couldn’t be there for the fitting
because they were booked so I remember
chatting with Darvish about their lewk, going
through tons of pieces for myself and making
decisions about Robyn. I knew instantly when
I saw the pieces that they would be perfect.
When we arrived at the studio, we were all
together for the first time while I was on this
trip so we were saying hello to each other,
trying things on and laughing while at the
same time we had just met the photographer.
Sidenote, my skirt didn’t fit so I am wearing it
sideways or backwards, one or the other, and
the zipper didn’t go up so I had ass cleavage
in the back. I posted a BTS video on my IG
should you care to see it. A day to remember.
The Queer Coven is known for creating
authentic and inclusive spaces. How did you
ensure that the essence of inclusivity was
reflected in the collaboration with Darvish and
Robyn?
Inclusivity is interpreted in many different
ways. Race, culture, ethnicity, body type,
sexual orientation, gender identities,
differently abled bodies, differently
abled humans, etc, so the truth is, from
a collaboration perspective, it’s nearly
impossible to be 100% diverse and inclusive
on all pieces of content and projects.
I like to approach collaborations from a
perspective of similar moral alignment and
with that there is always diversity within those
intersections.
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What impact do you hope this collaboration will have on the
queer community and beyond?
To be honest, unless it is a very specific project, there
oftentimes isn’t specific intent. There is a shared intention
of showcasing comfort in the skin that can perhaps make
someone feel inclined to try to express themselves in ways
that they potentially feared before.
Can you share any plans or upcoming projects that
The Queer Coven has in store for its audience?
I’m currently working now on a print magazine called
ICONIQA It will be a queer art book featuring ALOK and
Amanda Lepore on our double-sided cover, as well as features
on queer humans that live around the world. I have also
started my Barcelona-based event titled ICONIQA.
I will curate and produce four per year. We launched with
our headliner Violet Chacki and had Amanda Lepore and
Berin-based goddess Hungry in July. I have Gottmik as our
headliner for our October 15th event and I’m working on the
headliner for our event on December 3rd.
What advice would you give to aspiring creative curators and
influencers who aim to create more inclusive spaces within
their communities?
Don’t be afraid to explore.
Don’t be afraid to fail.
Stop looking at other people’s content for approval.
Pause, Take a deep breath. See your point of view inside
and create.
What are your future aspirations and goals as an artist, and
how do you hope to continue pushing boundaries with your
work?
I am a firm believer in alignment. I wish to continue on a path
of open queer living and I will see what the world has in store
for me. I am open.
Darvish
Dress: @daijanalanziner
Harness: @miss.overdose.shop
Headpiece: @noraly_cyberesque
Barry
Bodysuit: @effenberger_couture
Skirt : @noraly_cyberesque
Headpiece: @noraly_cyberesque
Robyn
3D Latex: @miss.overdose.shop
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ZEITGEIST
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TRANSFORMER OUTFITS by DZHUS / WWW.IRINADZHUS.COM / @DZHUS.CONCEPTUAL.WEAR
ETHICAL FOOTWEAR by HOUSE MARTIN / HOUSEMARTIN.STORE / @HOUSEMARTIN_FOOTWEAR
CREATIVE DIRECTION AND STYLING by IRINA DZHUS / @IRINA.DZHUS
PHOTOGRAPHY by NATALIA VOLKOVA / @NOELWOLFPHOTO
VIDEO by LUKASZ DZIATKOWIAK / @LUKAAAIMAGES
MAKEUP & HAIR by KRISTINA COVA / @KRISTINACOVASTYLE
MODELS: MARTINA GLEISSENEBNER-TESKEY WITH CM MODELS /@MARTINA.GT.OFFICIAL
NIKOLA STRUGAŁA WITH MODELWERK / @NIKOLA_STRUGALA GLEBS STEPCENKO / @GLEBUSCHKAA JAN ANUSZ / @JANKUNIO
STYLING ASSISTANTS: JIN LIANG / @JINLIIANG ANNA PAWLOWSKA / @ANIAPAWLOWSKA_ JAN ANUSZ / @JANKUNIO

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Zhenya Trifonova @firmkick
She also doing a nice hand sculpted jewelry
@decline.th
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Earlier this year, Uganda's
current President, Yoweri
Museveni, signed the
Anti-Homosexuality Act of
2023 into law. While the
country's legal system already
has severe penalties for
same-sex conduct, including
life imprisonment, though this
is rarely enforced, the new
Anti-Homosexuality Act goes
even further, defining vague
new offences such as the
"promotion of homosexuality,"
and introducing the death
penalty for certain actions
deemed "aggravated
homosexuality." Additionally,
the law increases the prison
term for attempted same-sex
conduct to ten years.
To talk about this new law,
KALTBLUT had a chat with
“Let’s Walk Uganda’’s'' founder,
Edward Mutebi, an active
advocate for the LGBTQIA+
community in Uganda and
neighbouring countries. His
organisation, “Let's Walk
Uganda'', is the first organisation
openly dedicated to providing
safe shelter for LGBTQIA+
individuals in the country
without just offering shelter,
but also helping the community –
particularly the homeless –
by teaching them skills for
self-support.
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EDWARD
MUTEBI

ON UGANDA’S ANTI-LGBTQIA+-LAWS
My name is Edward Mutebi, and I'm the
founding director of “Let’s Walk Uganda'', an
LGBTQIA+ human rights organisation established
in Uganda. I'm currently a resident of Germany,
where I moved in 2018 to seek asylum after
experiencing a series of persecutions and threats
to my life during my tenure as an executive
director. At the moment, I am in Nairobi, Kenya,
working on my master's degree thesis.
My activism is, of course, driven by the numerous
challenges I faced as an individual while I was
still living in Uganda. It is motivated by the desire
to promote love and witness the flourishing of
others' lives without them being persecuted solely
due to their sexuality.
Doing this work must be incredibly dangerous.
How did you find the bravery to become an
activist and advocate for LGBTQIA+ rights in Uganda?
I suppose the main thing leading me
to start “Let’s Walk Uganda” was the personal
persecution I endured. In 2014, I was arrested
for the first time due to my sexuality and was
blackmailed and detained for over 14 days.
During my time in police custody, I was denied
most of my rights. I was subjected to torture, and
my mother was extorted; they forced her to
provide money for my release.
This occurred when the initial anti-homosexuality
law was enacted in 2013, which was later
repealed in 2014. For the record, Uganda has
passed two anti-homosexuality laws. The first was
in 2013, and the most recent is the current one.
While I eventually regained my freedom, there
were no queer organisations I could reach out to
for help during my detainment. I had no
resources at my disposal.
By that time, unemployment and homelessness
were rampant among the LGBTQIA+ community
in Uganda. Additionally, accessing medical
services was a struggle.
We needed to establish an institution, which is
why I created a grassroots organisation aimed
at assisting the community with these issues.
I shouldn't have to witness such atrocities any
longer, and I am determined to spare others from
enduring the hardships I faced while in custody.
I am resolute in preventing anyone else from
being arrested, tortured, and extorted. Countries
like Kenya and Ghana are also deliberating
similar laws to those in Uganda. We find
ourselves amidst a wave of homophobia, making
it a challenging period to be an activist amidst
such draconian legislation.
Can you safely pursue your work, or do you
constantly have to look over your shoulder?
I constantly find myself looking over my shoulder.
The law in Uganda, signed by the country's
president, criminalises individuals like me, as well
as organisations and even doctors who offer
support to the LGBTQIA+ community. Doctors now
have to worry because the law asks them to
report LGBTQIA+ people to the authorities. Being
arrested and subjected to lengthy imprisonment
has become a real possibility.
Kenya, following Uganda's lead, has become an
unsafe haven for LGBTQIA+ refugees. Despite
Kenya's presence of homophobia and persecution
against LGBTQIA+ individuals, it used to provide
refuge for those seeking asylum based on their
sexuality.
This is no longer the case, and we're witnessing
instances where LGBTQIA+ refugees or asylum
seekers who arrived in Kenya six, seven, or eight
years ago are still in limbo, awaiting acceptance.
Tragically, activists have lost their lives in both
Kenya and Uganda.
The prevailing circumstances have created a
challenging environment for LGBTQIA+ activists
and human rights defenders to operate in. Recent
developments include the closure of the United
Nations Human Rights office in Uganda, leaving
the government with an unchecked ability to
violate human rights.
"I AM RESOLUTE IN
PREVENTING ANYONE
ELSE FROM BEING
ARRESTED, TORTURED,
AND EXTORTED."
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"FELLOW LGBTQIA+
PEOPLE ARE EVEN
DISTANCING
THEMSELVES FROM
OTHER LGBTQIA+
PEOPLE BECAUSE
THEY'RE SCARED."
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"IT'S A BROAD WORD, BUT STANDING
IN SOLIDARITY WITH THE LGBTQIA+
PEOPLE IN UGANDA MEANS
CONTINUING TO PRESSURE YOUR
GOVERNMENTS TO REVISE THEIR TIES
WITH THE UGANDAN GOVERNMENT."
WHAT DOES THE LGBTQIA+ COMMUNITY IN
UGANDA OR KENYA LOOK LIKE – IS THERE
A STRONG SENSE OF UNITY?
There is unity among the activists, but people are
being forced to disperse due to safety concerns
and the need for survival. At present, everyone is
striving for safety and their own well-being.
Previously, we used to hold a Pride event in
Uganda, but it was dismantled by the government.
Organising a Pride event could potentially cost
you your life. In 2019, there used to be a bar
where LGBTQIA+ individuals in Uganda could
gather, dance freely, and express themselves
through their attire.
However, the government then closed down this
bar. They unleashed a wave of terror on this
establishment, deploying police, the army, and
journalists to attack the premises and arrest a
large number of people. No one wants to
associate with another.
Fellow LGBTQIA+ people are even distancing
themselves from other LGBTQIA+ people because
they're scared. Transgender individuals, for
example, are confined to their homes due to
persecution. Some kind-hearted people provide
them with food, delivering it to their homes.
A car is necessary if they require hospitalisation;
they cannot go outside by themselves.
That’s how dangerous it is.
DO YOU SEE ANY HOPE FOR THE FUTURE?
I was always told by my mother to never lose
hope. There is hope. It may not come immediately.
With a lot of work and activism fighting homophobia,
there is a light at the end of the tunnel. As
much as it seems dark now, we still have hope in
countries defending human rights, we have hope
in ourselves, we still have hope in the LGBTQIA+
structures in Uganda, and we still have hope in the
people currently being persecuted and their resilience.
That's where hope grows.
WHAT CAN THE INTERNATIONAL COMMUNITY DO TO
SUPPORT YOUR ORGANISATION AND THE LGBTQIA+
COMMUNITY?
People in countries can help us by standing
in solidarity with us. It's a broad word, but standing in
solidarity with the LGBTQIA+ people in Uganda
means continuing to pressure your governments to
revise their ties with the Ugandan government.
Germany is providing a lot of foreign aid to Uganda,
which now should be revised and target only crucial
sectors of the country without supporting the entire
governmental structure.
People should call upon their governments to impose
visa bans on the politicians who initiate such laws in
African countries. I'm also calling on governments to
issue humanitarian visas for LGBTQIA+ activists and
defenders who are being persecuted. We need them
freed and lifted out of this situation into safer
countries. Please stand in solidarity with us.
INTERVIEW BY @JOHANNAURBANCIK
PHOTOS BY RICKY BURGER
CHECK OUT EDWARD’S WORK WITH LET’S WALK UGANDA ON
THEIR WEBSITE AT LWUGANDA.ORG OR THEIR INSTAGRAM
ACCOUNT AT @LETSWALKUGANDA
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flavorofgods.com
LICK MY DROPS
LUBE
CBD FOR THE GODS
DROPS
MASSAGE OILS
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GET TO KNOW:
ORKIDEH DAROODI,
FOUNDER OF
TEHRAN’S O GALLERY
Orkideh Daroodi, a passionate
advocate for contemporary Iranian
art, is the dedicated gallerist behind
Tehran's O Gallery since 2014.
As a woman-owned
establishment, O Gallery
showcases emerging and
established Iranianartists, both
locally and globally. Celebrating its
10th year, the three-story 1960s
building-turned-gallery in central
Tehran offers two distinct
exhibition spaces and a private
viewing room. Boasting a diverse
roster of thirty artists, O Gallery
stands as a prominent voice in the
art world with an engaging schedule
of physical and online exhibitions.
Orkideh Daroodi, born in 1982 in
Tehran, holds a Bachelor of Arts in
English Literature from UC Davis,
California. After her early art
immersion at Assar Art Gallery, she
embarked on a remarkable journey
of promoting and fostering
contemporary Iranian art through
O Gallery.
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How did you come to open an art
gallery in Tehran?
I left Iran when I was about 13 years old
with my family. After I finished my studies
there, I stayed for about a year and then
came back to Iran in my mid-20s. For a few
years, I was doing different jobs, mostly
writing papers, teaching English, and things
like that. Until I started working at a
gallery called Assar Art Gallery. I was
there for about four years.
What I noticed while working there were
young artists coming in with samples of
their works on CDs. They would want to
give the CD to the director to have a look to
see if they could have a show at the gallery.
Because they had a limited roster of artists,
and their shows were relatively long, they
couldn't show many of the younger artists.
They would have one or maybe two guest
artists each year. I felt there was this niche
to represent young artists.
There are so many young artists, either
graduated from the universities or
self-taught; they need a space to show their
work! Not that there weren't other galleries
showing the work of young artists , but I
thought there was room for another gallery
to focus on the work of young and emerging
artists. I wanted to be in the centre because
I wanted to be accessible for art students
and enthusiasts. The centre has now turned
into a cultural hub with lots of galleries,
cafés, and bookshops.
O Gallery is within walking distance of a
couple of different galleries as well. Tehran
is not like other cities where you have
a cluster of galleries; it's nice to have a few
galleries close by.
I opened the gallery in 2014, and the focus
has remained on finding new talent and
working with young emerging artists. I also
travel a lot, less now, but I still try to do
studio visits outside of Tehran. I was keen to
present more underrepresented artists who
live in other cities besides Tehran. About 25
exhibitions I've had so far have been with
artists from different cities.
Another focus that I didn't even know I was
interested in is paper. One of the gallery's
focuses has also been showing and
promoting the work of artists who work with
paper, either on paper or with paper. That's
something that has happened along the way
and has continued in the past nine years
that I've been running the gallery.
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What requirements are there for
up-and-coming artists to exhibit at
O Gallery?
Nothing really prior. I just look at their work,
and if they have a collection that I think is
ready to be shown, that's all we need. There
is no prior experience of having any exhibitions.
In the beginning, it was just me alone,
but now we have a curatorial team that
looks at the works we receive, mostly via
email now or through recommendations of
other artists.
If there is anything we find of interest, we
schedule a studio visit to see the works up
close.. That was one of my main focuses and
one of my main reasons as to why I opened
the gallery. It's been important to try to
cater to as many artists as possible each
year but quality of work is the most
important criteria and now after nine years
of working we have decided to reduce the
number of shows we have each year.
How would you describe the art
scene in Iran? And how has it
changed since you opened the
gallery 14 years ago?
When I opened the gallery, there were two
other galleries that opened around the same
time. If I'm not mistaken, one about one
month prior and one about a month after.
In the past nine or ten years, the number
of galleries that have opened is unbelievable.
I think 10, or more have opened. I keep
thinking to myself, who's
going to show at these galleries? And
there's always more and more and more
artists. The art scene has been really vibrant
ever since I’ve been in the business and like
any other industry it has its ups and downs.
But I think the new generation of galleries
are working really well.
You see a lot of changes; we have the Argo
Factory, which is an extraordinary space
that has opened. I think that has changed
the art scene tremendously; we've had
nothing like it in Iran before it. That's also
been great because they show artists from
abroad, non-Iranian artists as well.. Not
many people travel here now, and getting
out of the country is difficult. So, to be able
to see art from the outside is very nice for
everyone.
There are about 300 registered galleries in
just Tehran I think; not all of them are
working. I would say about 50 are working,
and of those 50, I would say 20 are more
active.
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But every Friday there is something to
go see. That's been amazing for a lot of
people, to have that chance to be able
to go look at and talk about art in lack of
museums and other institutions.
And the art itself? Are artists
dealing with political or
non-political topics in their works?
I see less political work nowadays but
that might just be me and the program
of our gallery even though I try to have a
look at the other galleries’ programs as
much as possible.
When I opened my gallery, I showed a
few exhibitions that were conceptual and
political. Because conceptual art is
difficult to sell, production costs have
risen extremely. I think it's become very
difficult for artists to be able to do that
kind of work.
From your point of view, what’s
life like for artists in Iran at the
moment?
Costs are – I cannot tell you – everything
doubled and tripled within months. Inflation
is crazy. A lot of the artists are trying
to leave, either through continuing their
education or using different talent visas.
They're trying to get out because they
feel there is not much for them left here.
Some of them have lost their studios;
they cannot afford to buy material.
Of course this is not the case for
everyone. A lot of artists have decided to
stay and fight through all the difficulties,
but I’m sure it’s tough for a lot of them.
What's interesting is that with everything
that has happened, even during the last
year when all the protests broke, with
a lot of the galleries closed for a few
months, the market is still good. Even
last year, right at the beginning of the
protests, when we didn't even know what
was going to happen, I was surprised to
see that people were asking to see works,
or they were buying works.
That is a good sign because I think art
does its own thing regardless of so many
things. . It was interesting to see that
people were still supporting and buying
art for their collections.
Can everyone become an artist
in Iran or is it an “upper class”
profession?
Culturally, the thing here was that most
people would want their kids to become
doctors or engineers. When someone
said they wanted to go to art school, that
was frowned upon. But that has changed
in the past 20 years. And of course there
have always been
exceptions too.
.But now you see artists from different
backgrounds and classes. I don’t think it
has even been an upper class thing. It
really depends on the individual’s passion
and interests.
Some of them have gone to university,
others have worked in different artist studios
while some are self-taught. You see
all sorts of different people.
Tell me about one of the more
recent exhibitions, “Faces” by
Donya Aalipour.
As I explained, most exhibiting artists
are young and emerging. I have only two
more established artists, such as the
Berlin-based Ali Nassir. Every couple of
years, he curates shows of young Iranian
artists.
The second time he did it was with Iranian
artists who live abroad. Donya is
based in Vienna. Nassir knew her, sent
me her work, and said he was interested
in showing her work in the group exhibition.
When I saw her work and met her when
she travelled to Tehran, I fell in love with
her work. She didn't have any
representation in Tehran and hadn't had
any solo shows yet. She's in her late 20s.
Her show was actually set for September
last year. All the works were here, framed,
ready to go. But with the protests, we
decided to cancel her show.
Over the period of one year, the amount
of work that she's done and the growth
that you see in her work is absolutely
amazing. We decided to show a selection
of the original artworks that were done
for last year and a few of the ones that
she had done during the past year.
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In the past year, you could see that even
though she wasn't living here, her work was
inspired by what was happening, it was as
though you could see more action in her
paintings. You could see the turmoil in her
work. When we had her show a year later,
I think it resonated a lot with many people
because they could see some familiar scenes
that they weren't sure if it was referring to
what had happened or was just a
continuation of what the artist was doing.
It was a mixture of both because it wasn't
something new, but she had brought in new
elements so beautifully that it just worked
organically into the previous collections.
Her exhibition lasted for three and a half
weeks and was received very well.
Since she lives and studies in Vienna,
do you also see European influences
in her work?
She finishes school this year, so there is of
course the academic aspect and learnings
from the West that you can see traces of
in all her work, mostly with regard to how
she uses colour and forms, how they come
together, that is influenced by the Western
world. The subjects, I'd say, are Iranian
though.
Interview by @johannaurbancik
Follow @ogallerytehran on Instagram
to keep up with upcoming exhibitions.
Photos by Mehran Danaei.
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VIRTUOSITY OF BLUR
by OMID AGHDAMI
PHOTOGRAPHY BY OMID AGHDAMI / WWW.OMIDAGHDAMI.DE / @OMIDAGHD
FASHION DESIGNS & STYLING BY EGZON MALAJ & JANIS REITMANN /
@JANISREITMANN @JANISPORTFOLIO @EGZONMALAJ
HAIR &/ MAKE UP BY PAULA HARDER / @PAULAHARDER_
MODELS ARE HONGYU WANG & JAKOB WEISSBARTH VIA IZAIO MANAGEMENT /
@WANGH0NGYU @JAKOBWEISSBARTH @IZAIO.MODELMANAGEMENT
BRANDS USED ARE SOLELY DESIGNS BY EGZON MALAJ & JANIS REITMANN
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DIE VIRTUOSITÄT DER UNSCHÄRFE
Gerhard Richter‘s concept of „Virtuosität der
Unschärfe,“ which translates to the „virtuosity of
blur“ challenges conventional notions of artistic
precision and clarity. It invites us to contemplate
the profound depth within ambiguity and
uncertainty, both in art and life.
Gerhard Richter‘s artistic concept of the
„virtuosity of blur“ might seem unconventional
at first glance, but it has the power to challenge
our preconceived notions of art‘s precision and
clarity. It encourages us to peer into the depths
of ambiguity and uncertainty, both in the art
world and in our everyday lives.
Photographer Omid Aghdami takes us on a
journey through themes of incompleteness and
decay, echoing the fashion designs brought to
life by Egzon Malaj and Janis Reitmann. These
designs, (literally) molded by the two students,
carry a rough, almost burdensome quality that,
oddly enough, conceals a hidden, introverted
beauty—a beauty that resonates with Richter‘s
idea of the „virtuosity of blur.“ It‘s a peculiar
kind of clarity, one that defies conventional
expectations of refinement.
Omid Aghdami‘s photographic storytelling
delves into these ideas and the perspectives
embodied by the clothing. Contrasting with
the usual countless numbers of outfits/looks in
mainstream fashion shoots, Omid intentionally
narrows his focus to just two distinct looks.
This deliberate decision grants us the
opportunity to examine each piece with
an intensity that‘s often lost in the world of
fashion photography. It‘s an invitation to
connect with the nuances.
Omid photographic technique goes even
further in enhancing the sensory essence of
the clothing.
Through manipulation of light and
shadow, overlapping exposures, and the
subtle elongation of shutter speeds, the
photographs breathe life into the fabric,
inviting viewers to feel its textures almost
tangibly. This union of tactile sensations
and visual artistry creates a profound
engagement that‘s both stimulating and
immersive.
In the world of art and fashion, the
„virtuosity of blur“ challenges us to embrace
imperfections, uncertainties, and the
unconventional. It‘s a reminder that beauty
can reside in unexpected places, waiting for
those who dare to look beyond the surface.
Richter‘s concept, translated into the fashion
designs by Egzon and Janis and captured
by Omid Aghdami, encourages us to pause,
ponder, and appreciate the intricate details
that might otherwise go unnoticed.
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galeriesultana.com/artists/jean-claracq
instagram: @jeanclaracq
Interview: @fleur_helluin
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IN CONVERSATION WITH EVÎN
"NOW I HAVE
THE SPACE,
NOW I WANT TO BE
100% EVÎN"
316

Last year, I met up with Evîn in Neukölln to
interview her about her upcoming EP, "It Wasn't
Even For You." We ended up chatting for the
whole night, thereby postponing the interview to
almost a year later. Since then, I've grown
incredibly fond of her music, as it emits serenity
and a feeling of home – just as if everything's
okay. It's a feeling we all need to experience
more often in these unprecedented times we
live in.
Evîn was born in 1995 in Bochum, Germany,
into a family of Laz and Kurdish immigrants.
Raised in an environment influenced by her
father, a political journalist and activist, Evîn
developed a profound political consciousness
at a young age, which remains a significant
aspect of her life to this day. With her music,
she delves beyond personal themes, aiming to
address vital issues such as social injustice,
female empowerment, and commemorative
culture.
During our conversation, we discussed her life as
an artist in Berlin, her involvement in "A Song For
You," and the difference between working solo
and her desire to fuse her culture with her music.
What’s been happening in your life since you
released your latest EP "It Wasn't Even For You"
last year?
One of the biggest things, without a doubt,
is that I have been producing more music on
my laptop and learned a lot about mixing to
see how far I can actually get on my own. I've
done a lot on my own before, but I always
thought it needed someone else to complete
the whole thing and make it official.
I probably have limited myself and put
obstacles in my own way in the past.
I feel much more liberated now. I can
express my vision much more freely and can
confidently say when a project is finished.
I still collaborate with other artists, but overall,
that process has become more relaxed too.
It's really been a beautiful journey, and I'm so
grateful. I never thought I could learn so much
technically, but somehow, it happened.
How do you approach making music now?
Do you start with the lyrics, or are you
experimenting with the technical side of it?
It depends. Lately, I've been trying out a lot
of different things, such as playing the piano,
singing, playing the guitar, and so on. I record
myself with my phone, sample the recordings,
experiment, and try different things, such as
chopping the elements.
Often, there are already lyrics that come
along with it, though, and there's already a
certain direction the track could take. A vibe,
so to say. From there, I delve deeper into
the idea. I'd say everything comes together
simultaneously for me.
317

Making a track by yourself automatically
also makes you solely responsible for it.
Does that scare you compared to working in
a team?
Absolutely! I still go to the studio with other
creatives and always get people involved
by sending them ideas and drafts. I don’t
think I could do it all completely on my own
anyway. If I know a person's style, I dig it,
and we're heading in a similar direction, I'm
definitely up for collaborating.
You’re also part of “A Song for You”,
Berlin's BIPoc-centred choir. How did that
come about?
I found them on Instagram about a year
ago and watched a few of their recordings.
I was amazed. What I saw and heard was
just mind-blowing. I reached out to them
when they started accepting applications,
and before I knew it, I became a part of it
and fell in love with everyone involved.
I genuinely adore this community. You can
feel their main goal is to create art together,
to put together a collaborative project.
In Germany, there was a huge lack of an
initiative like “A Song For You”. It's also
focused on supporting BIPOC individuals.
Now, it's expanding. "A Song For You"
now also has a performance company
that centres around BIPOC artists, which is
incredibly inspiring. I'm so grateful to be a
part of it.
Does it feel different performing with such
a huge group when you’re usually on stage
by yourself with your band?
It's a different experience, but it's enriching,
you know? I love having this contrast
because it's very empowering, and it's not
about the individual. In those moments,
I realise that it's about the music that comes
to life and fills the space. It's humbling, to
be honest.
I didn’t have to adapt to sharing the stage.
Singing in a choir at 12 years old was my
first proper singing experience. It felt more
like finding my way back. Being among
people who understand me, people who
know this world, all while having a space
where not being afraid to sing.
Usually, I'm the only singer, everyone else
plays instruments, which is cool, of course.
But suddenly, there are only singers around
you,and that's awesome. It's fire.
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Has your work with “A Song For You”
changed your approach to your solo-music?
Maybe? I’d say, especially in the realm of
soul and – in the broadest sense – gospel
music, which has always been a part of me.
I feel those genres are actively shaping my
life again. In terms of production, I've already
gone so far in a certain direction, I have now
found my own style. I have to say that I could
imagine incorporating choirs into my solo
music, though.
A couple of months ago you released a track
called “Still (Sped up Version)”. How does
it feel releasing music where you’re actively
changing your voice or in this case also the
speed of the track?
I grew up with this strong belief that the
voice has to sound natural. If you tune your
voice, you're cheating. But now, I've come to
understand that I love tuning and modifying my
voice. For me, it's a sense of freedom, and it
allows me to be Evîn, but I can also go beyond
that, you know? For example, in my track “best
friend”, not a second of it was my real voice.
I loved it, and I wanted it to sound like that. It
has been a beautiful experience for me.
We’ve talked about this privately before but
I was wondering if you could tell me about
fusing your cultural background with your
music. What does that look like for you?
I'm cautious – or I try to be – because it's
a long process to bring these two worlds
together. I was born and raised here in
Germany, but I also feel so connected to my
parents’ experiences in Turkey when they were
involved in different protests. I feel I've been
there with them, it's a significant part of me.
I'm trying to understand how I can incorporate
those emotions into my music.
My father used to sing a lot, he had a beautiful
voice. It's quite a challenging process to merge
these worlds, which might sound cryptic. I listen
to a lot of Kurdish music, it inspires me, and
I draw small elements from it. I've set a goal to
bring these worlds together even more in my
debut album.
How are you planning on doing that?
I would definitely do it in my own way, but
I would work a lot with sampling as well as
melodies and language. I'm learning Kurdish
right now. We mostly spoke Turkish at home,
which makes it an important language for me,
but Kurdish, of course, takes precedence.
My parents come from a very leftist scene
in Turkey, and they introduced me to some
amazing artists, such as Fikret Kızılok and Cem
Karaca. They have also influenced me greatly.
I read their lyrics, and I see that it's also a part
of what my parents lived.
319

You moved to Berlin last year. How has
the city changed your relationship with
music?
Living here has encouraged me to be
who I am, to some extent. I already had it
within me all along, and being here made
me feel like, "Now I have the space, now
I want to be 100% Evîn." I'm becoming
even more daring.
You’ve already talked about your passion
for production. In a techno-heavy city such
as Berlin, is there a temptation for you
to one day produce a techno track, for
example?
I sample a lot. Music, in general, is a big
world, and you come across different
genres one way or another.
But I didn't grow up with techno. I was
more into electro music, and never had a strong
desire to create a techno track. But if I do, you'll
hear about it for sure.
I can’t DJ yet, but it’s something I find
super interesting – it’s such a huge part
of the culture. If you read any big
musician’s biography they always talk
about how they ended up DJing at this
significant space all night long. Maybe
that’ll be me one day, and you’ll find
me DJing all night at Panorama Bar!
Interview by @johannaurbancik
Follow @evinevinevin
Photos by @ach.liebe
320
"SINGING IN A CHOIR AT 12 YEARS
OLD WAS MY FIRST PROPER
SINGING EXPERIENCE. IT FELT
MORE LIKE FINDING MY WAY
BACK. BEING AMONG PEOPLE
WHO UNDERSTAND ME, PEOPLE
WHO KNOW THIS WORLD, ALL
WHILE HAVING A SPACE WHERE
NOT BEING AFRAID TO SING."

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Photographer: Oscar Latorre www.byoscarlatorre.com
Make-Up: Sandra Ruibal Petrus @Makeupetrus
Stylist: Armand Rodriguez Corredera @Armands_couture
Models Are Fatima Drammeh @Dede_dmm Agency: Agencia River @Agenciariver_
Serigne Sylla @Seriberi7 Agency: Fleming Models @Flemingmodels
Malick Diallo @Malickidiallo Agency: Sight Management Studio @Sightmanagement
Studio: The Catwalk Studio @Thecatwalkstudio www.thecatwalkstudio.com
ESPRIT
DU DÉSERT
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Necklace by VSB Joyeros
Jacket by Aleksander Revas
Skirt by Armand’s Couture
Shirt (right) by ZARA
Trousers (right) by Eñaut
Shirt (left) by ZARA
Trousers (left) by Fred Perry
Left: Necklance By Vsb Joyeros
Jacket By Aleksander Revas
Skirt By Armand’s Couture
Middle: Shirt By Zara -Trousers By E’aut
Right: Shirt By Zara - Trousers By Fred Perry
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Choker by Elisheva & Constance
Bracelet by Fernando Rodríguez
Blouse & Jacket by Alfredo Martínez
Skirt by Armand’s Couture
Sweatshirt by Alessandro Enríquez
Trousers by Fred Perry

Choker by Elisheva & Constance
Blouse by Joaquim Moreno Design
Trousers by Fred Perry
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Jacket by Lola Casademunt by Maite
Trousers by Joaquim Moreno Design
Shoes by Najjat Harb
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Jacket by Lola Casademunt by Maite
Trousers by Joaquim Moreno Design

Blouse by Armand’s Couture
Jacket & Trousers by Fernando Alberto Atelier
Bag by Shein

Jacket by Armand’s Couture
Dress by Giselle Matamala
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Necklace by VSB Joyeros
Jacket by Aleksander Revas
Skirt by Armand’s Couture

Necklace by VSB Joyeros
Jacket by Aleksander Revas
Skirt by Armand’s Couture
Choker (right) by Elisheva & Constance
Blouse (right) by Joaquim Moreno Design
Trousers (right) by Fred Perry
Jewellery (left) by Fernando Rodríguez
Blouse (left) by Alessandro Enriquez
Trousers (left) by Moiraeius
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Sweater (top) by Fred Perry
Trousers (top) by Fred Perry
T-Shirt (bottom) by Fred Perry
Trousers (bottom) by Eñaut
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Blouse by Armand’s Couture
Belt by Giselle Matamala
Trousers by Aleksander Revas
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Necklace by VSB Joyeros
Bracelet by Fernando Rodríguez
Dress by Armand’s Couture
Sweater & Trousers (left) by Fred Perry
Polo (right) by Fred Perry
Trousers (right) by Eñaut
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Necklace by Fernando Rodríguez
Bracelet by Elisheva & Constance
Jacket by Fernando Rodríguez
Skirt by Armand’s Couture
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Choker by Elisheva & Constance
Bracelet by Fernando Rodríguez
Blouse & Jacket by Alfredo Martínez
Skirt by Armand’s Couture
Sweater by Fred Perry
Trousers by Eñaut
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Jacket by Joaquim Moreno Design
Trousers by Fred Perry
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www.thenorthface.de

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Welcome to an enchanting realm where the season of autumn and winter becomes a
symphony of luxurious indulgence. While these items may not be necessities per se, their allure
is simply irresistible, allowing you toinfuse your life with unparalleled beauty and
sophistication. Prepare to surrender to the allure of fashion, embrace cutting-edge
technology, and pamper yourself with beauty wonders. This is your invitation to indulge in these
must-have delights that promise to elevate your autumn/winter experience to
Extraordinary heights.
TRACE - FUCKING AND DREAMING
DEBUT ALBUM GET IT HERE
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ZARA STUDIO FW23
GET IT HERE
BARACUTA X GOLDWIN COLLECTION
GET IT HERE
CARHARTT WIP HAT
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POLAROID i-TYPE FILM "RETINEX"
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THE NORTH FACE: CIRCALOFT
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ERIS PARFUMS
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MARNI AND DINGYUN ZHANG CO-DESIGN A
LIMITED SERIES OF OUTERWEAR GET IT HERE
BRIONVEGA BLACK TOTEM
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#BOOKCLUB
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THE THREE OF US
BY RICHARD KRANZIN
Photographer Richard Kranzin embarks on a captivating journey into the enchanting
summer forests of Brandenburg alongside three close companions. Amidst the
picturesque scenery of a forest lake, a secluded cabin, and majestic trees, a profound love
story unfolds. Through his art project "The Three of Us," Kranzin skillfully captures the
tender and cinematic bond shared by these three young men. This aesthetic endeavor
serves as a delightful contrast to the bustle of city life, celebrating the timeless beauty of
youthful affection and the myriad expressions of love. Radiating romance and an ethereal
quality, Kranzin's masterful black and white analog photographs in his latest book
illuminate the pages, offering a serene respite from the ubiquity of digital photography.
"The Three of Us" marks the esteemed photographer's third illustrious photobook,
building upon the success of his earlier works, "Boys in Nature" and "Nudes."
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How did the idea for "The Three Of Us"
come about? Can you tell us more about
the inspiration behind the book?
Since I am also a filmmaker, I always love to tell
stories that are an escape from daily city life. Being
born in Berlin and growing up in the big city, nature
was always my sanctuary. My first short film
“In Beating Cells” already tells the story of four young
adults, who fall in love with the idea of reuniting with
nature and living their intimate dream at a small lake
in the middle of the forest. A romantic foursome so
to say. And the idea for “The Three Of Us” also came
from that basic storytelling idea. This time it is two
young city guys, who enjoy their time in the
picturesque nature and explore their romantic senses
as soon as they meet a new companion.
Could you elaborate on the significance
of Brandenburg as the setting for your
photography project? What drew you to
this particular location?
Well, it was actually the publisher Björn Koll, who
invited me to his Brandenburg home some years ago.
We wanted to work on a new film idea, using his home
and nature as a setting. Since financing films is a very
complicated and political thing in Germany, we put
our idea aside. But the nature in this particular area of
Brandenburg still catches me. It is an almost
untouched piece of earth, with a lot of wildlife. The
Trees might be several hundred years old. The forests
are some of the biggest in Europe and are full of
history. You might even find ruins of hidden war
shelters in there. So me and Björn developed this idea
of creating a photographic story instead.
"The Three Of Us" is described as an
aesthetic antipode to life in the big city.
Can you expand on this concept and how
it influenced your artistic vision?
As I mentioned, I was born and grew up in the big city,
in 1990. But the fast-living style was never meant for
me. I am a dreamer and more of a thoughtful mind,
and never was interested in techno or drugs, which
Berlin became famous for. The city became more and
more artsy, extravagant and international. Sometimes
I just felt crushed by the visual overload and
competition of art in Berlin.
So instead of trying to compete with many loud or
extravagant artists, that “took over” Berlin, I just
wanted to stick with what I know and dream of and
create more peaceful, quiet and mindful art.
Just like in my book “NUDES”, I wanted to create a
nostalgic feeling, a softness and a very intimate
observation this time as well. The analogue film always
helped me to transport that idea.
Sometimes I see the world in slow motion. Diving into
details, soaking in the atmosphere, and embracing
senses and feelings. Something you forget when you
live your fast big city life. And this should be conveyed
with “The Three Of Us”.
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#BOOKCLUB
How did the friendship between Jakob,
Malik, and Friedrich contribute to the
overall narrative of the book? Were there
any challenges in capturing their dynamic
on camera?
The story between those three characters is a
fictional idea. My three friends Artur, Ben and Tony
embodied those characters for my project. So a lot of
the plot points were already set by me weeks before
the shooting. I really saw myself more as a director
than a photographer for this project.
But I have to say that I was very lucky to have
chosen these three because a lot of the most intimate
photos in the book were only possible due to
their own intuition and ability to let go and trust the
moment. I am so happy that we all built this trust
with each other and that my ideas felt like a natural
flow to all of them. The only challenge was to
sometimes be fast enough with my camera, to
capture what was already happening intuitively.
How did you navigate the balance between
intimacy and artistry in capturing the love
story between the protagonists? What
were some of the emotions you aimed to
evoke in your photographs?
There is a thin line between artistry and eroticism.
But for me showing nudity or intimacy always
comes from a romantic background. In my
opinion, a photo that seems to be only erotic and
has no other intention is not artistic enough and
won’t be selected for my artwork. I guess it’s all
about the selection and choosing what you want to
show and what not. I am seeking an intimate
atmosphere and a sense of vulnerability in my
photos, always treating the subject in a respectful
way. So even the most visual intimacy can be very
artistic in the right context.
As a photographer, how do you approach
storytelling through visuals? How do you
find ways to capture fleeting moments and
emotions within a static medium?
As mentioned before, I saw myself as a director
much more than a photographer in this project.
But indeed, it requires repetition and a lot of good
observation to be able to find the little interactions
that keep the moment alive and true.
I often observe the natural behaviours of my models
and then ask them to freeze in that position or
to repeat it for my camera. In “The Three Of Us”
I asked the guys to run into the water several times
for example.
Could you share some memorable
moments or experiences from your
time spent in Friedrich's cottage with
the three young men?
We spent three nights in this cottage in the middle
of nowhere. There was literally no civilisation within
the next five kilometres. Being there at night was a
bit scary at some point, to be honest. I remember
that one night Tony started howling into the woods,
but the rest of us were scared that he would attract
wolves. So we were hiding away in the cottage and
locking the doors.
Another happy memory is all of us sitting on the
porch and having breakfast every morning. I was so
in my head about the shooting, that I sometimes
forgot to eat. But the guys were very sweet and
prepared fruit muesli for me. We really grew together
during those days.
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What were some of the challenges you
faced during the creation of "The Three Of
Us"? Were there any unexpected surprises
or discoveries along the way?
Shooting on analogue film is always full of
surprises. There is a scene in the bathroom in which
the guys brush their teeth and end up in the shower
together. In the middle of shooting, I accidentally
opened my camera and exposed the analogue film
to the daylight. So we had to redo the teeth
brushing on the next day again.
Other than that, I was really well prepared for the
project to avoid any unforeseen challenges. Also
having Björn living not too far from all our locations
always felt like a safe haven, he took good care of
our well-being. And even the weather played us into
the cards, considering that we shot it in early
September 2022.
You mentioned that you are a romantic
dreamer who prefers expressing
yourself through pictures rather than
words. How do you hope your photographs
in "The Three Of Us" will resonate with
viewers and convey the essence of summer
love in nature?
I hope that creating a cohesive and continuous
photo story really helps to dive into this feeling as
a viewer. It should feel like being a part of that experience.
I guess everybody had at least that one
time in their life, when they spent some days in nature,
with friends or lovers, being carefree and just
enjoying the moment.
So the photos should also bring back memories of
love and inspire you to celebrate the moment.
RICHARD KRANZIN: THE THREE OF US
Gebunden, 160 Seiten, 240×320 mm, 107 Fotos
ISBN 978-3-95985-667-6 59,00 Euro
Get the book at salzgeber.de/threeofus
Follow RICHARD KRANZIN
@richard_kranzin_photography
richardkranzin.com
Interview by Marcel Schlutt

SOMEWHERE IN TIME
PHOTOGRAPHER ELYS BERROTERAN @ELYSMCM
MODEL PETER @PETERDEMAS25
VERSACE @VERSACE
CALVIN KLEIN @CALVINKLEIN
NIDAL NOUAIHED @NIDALDESIGNER
PRADA @PRADA
RALPH LAURENT @RALHPLAURENT
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Photography and visual design by Alexandra S. Aderhold /
www.aderholdprojects.com @aderholdprojects @earthling_aderhold
Model, makeup and styling: Magdalena Piech www.magdalenapiech.com / @mpiech.art
Interview by Marcel Schlutt
IN CONVERSATION WITH
ALEXANDRA S. ADERHOLD
362

THE ALLURE OF
"BITTER MOON"
In a captivating exploration of art, fashion, and technology, Alexandra S. Aderhold takes us on a
journey into the mesmerizing world of "Bitter Moon." This exclusive interview delves into the
creative process behind the project and shines a light on the philosophy that drives Aderhold's work.
From a young age, Aderhold embarked on a path as a visual artist, initially discovering her passion
for photography at the age of 13. Throughout her artistic evolution, she has embraced various
genres, eventually focusing on vegan nude, fetish, and porn art. Her art reflects values of
self-determination, consent, and the celebration of diversity. It was through this artistic journey that
Aderhold found herself drawn to the "Bitter Moon" project.
The fusion of fetish fashion and AI-generated imagery in "Bitter Moon" serves as a powerful
statement on avant-garde creativity and animal rights. Aderhold's vision was to push the boundaries
of artistic expression while highlighting the potential of technology to revolutionize the art world.
She aimed to deliver a resounding message in this project - that art can captivate and inspire without
exploiting animals or violating their rights.
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Latex stockings and latex top by Anoeses
Latex skirt by Honor Clothing
Shoes by Christian Louboutin
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Can you tell us about your journey as a visual
artist and how it led you to collaborate on the
“Bitter Moon” project?
My journey as a visual artist began at the age
of 13 when I first picked up a camera. Over the
years, I’ve explored various genres, and my work
has evolved into a focus on vegan nude, fetish,
and porn art. The emphasis in my art is on
self-determination, consent, and showcasing the
beauty of diversity.
The “Bitter Moon” project emerged from a desire
to push creative boundaries and explore the
intersection of art, fashion, technology, and ethics.
What inspired you to fuse fetishist fashion with
AI-generated imagery in “Bitter Moon”?
The fusion of fetish fashion and AI-generated
imagery in “Bitter Moon” was driven by a dual
commitment to avant-garde creativity and animal
rights. Embracing the potential of technology to
revolutionise art, I aimed to deliver a powerful
message – that in the modern era, we can create
visually stunning narratives without exploiting
animals and without violating animal rights.
The project underscores the principle that no
sentient being should be used without consent for
artistic endeavours or any other purpose. After
all, there is a clear connection between veganism
and my nude, fetish, and porn art; we should not
violate the fundamental rights of other animals
and use them as objects or treat them as our
property without their consent just so that we can
have leather whips, whipped cream, or even real
animals on set.
It’s just not right.
When we understand the concept of consent, we
also have to think about the animals and how they
are not able to consent to any of that at all. The
fusion in “Bitter Moon” is a testament to
avant-garde art with ethical integrity.
In “Bitter Moon,” snakes are utilized as symbols
of danger and desire. Can you elaborate on the
significance of this motif?
Snakes represent the allure of the forbidden, the
sensuality that comes with an element of risk.
Snakes are archetypal symbols in many cultures,
often associated with transformation and hidden
knowledge.
In “Bitter Moon,” they become a visual metaphor
for the complex interplay between danger and
desire, akin to the risks one might seek in delving
into a tarot session.
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Tarot cards play a pivotal role in the visual
narrative of “Bitter Moon.” How do they
contribute to the mystical storytelling aspect
of the project?
Since every single card features a unique coal
drawing by Magdalena Piech, the cards perfectly
came with a story of their own. Each card,
meticulously illustrated by Magdalena Piech in
coal, carries its own narrative.
Magda’s intimate involvement is portrayed as she
models with her tarot set, reflecting the countless
hours invested in each motif, painstakingly drawn
and brought to life through coal before finding its
place on the cards, designed and photographed
by me.
The fusion of sensuality and avant-garde is
prominently showcased in “Bitter Moon”
through the use of skin-tight latex. How does this
symbolize the intersection of art, fashion, and
technology?
Latex is truly fascinating; its futuristic appearance
and the fact that it’s derived from rubber trees
give it a distinct texture and aesthetic. Personally,
I believe latex represents a glimpse into the future
of fashion, where plant-based materials will
replace the skin of other animals, their hair, their
silk, and their wool.
Working with such a forward-looking
material is not just incredible; it has become
one of my favourite aspects of photo shoots
in recent years.
In “Bitter Moon,” both Magdalena Piech
and yourself challenge artistic norms and
redefine the boundaries of creativity.
Can you share some insights into this
boundary-pushing collaboration?
Magdalena Piech and I embrace a creative,
out-of-the-box mindset, leading us to adopt
a novel approach for this product shoot.
Integrating Artificial Intelligence into our
artistic toolkit alongside traditional mediums
like photography and coal drawing opens
up avenues for entirely unprecedented
outcomes.
This synergy of AI and classic artistic
expression mirrors the transformative impact
that photography had on painting when it
was first introduced.
While AI doesn’t replace traditional
methods, it enriches the creative process.
It’s essential to note that I exclusively
used ethically sourced AI, primarily from
databases with copyrights, such as Firefly
AI.
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How does your work capture the essence
of the unconventional?
In my creative journey, I avoid strict
boundaries, making sure that every move
respects the principle of consent. I enjoy
encouraging my collaborators to break
free from conventional norms, delving
into discussions about animal rights, and
emphasising the importance of veganism
in every photoshoot.
My passion lies in showcasing not
only the possibility but the necessity of
creating art without causing harm to
others.
To me, the true essence of art is lost
when it becomes entangled with the
exploitation of any sentient being,
whether human or nonhuman. It goes
beyond mere creation; it’s a joyful and
consensual expression, using one’s
body or others’, without violating their
fundamental rights. It’s a celebration of
inner creativity that doesn’t compromise
the well-being of any sentient being.
Could you elaborate on the level of
sophistication that Magdalena Piech’s
touch brings to “Bitter Moon”?
Magdalena Piech’s touch in “Bitter
Moon” is like adding a special flavour to
a recipe, a mix of elegance and
avant-garde vibes. Her knack for
choosing styles and telling stories visually
takes the project to a whole new level.
It’s the little things, the attention to
detail, and the way she blends different
elements that really make “Bitter Moon”
stand out.
Magda, being an artist with her own
unique style and loads of experience,
brought so much to the table. Our
combined vision, along with her creative
flair, played a huge part in shaping what
the shoot turned out to be!
How does your keen eye for detail infuse
purpose and passion into the images of
work?
In my images, each element, from
composition and colour grading to
symbolism, is thoughtfully selected to
enhance the narrative. Details are not just
aesthetic considerations but deliberate
choices that add layers of meaning. This
meticulous attention to detail, perhaps
stemming from my OCD, reflects my love
for scrutinizing every aspect of a picture.
It’s about making the exploration of my
photos both stimulating on a deeper level
and simply fun on the visual surface.
“Bitter Moon” sparks conversations by
pushing the boundaries of art, fashion,
and technology. What impact do you hope
the project will have on these creative
realms?
Through this project, my aim is to spotlight
the intersection of animal rights with art,
fashion, and technology. I firmly believe
that ethical art is inseparable from the
principles of consent and the rights of
all sentient beings. AI, as a powerful
tool, enables us to bring our creative
visions to life without infringing upon the
fundamental rights of others.
I hope this endeavour serves as inspiration
for fellow artists, fostering a future where
vegan art and fashion thrive, and any
practices rooted in animal exploitation
become a dark part of our history books.
What message or feeling do you hope
viewers take away from their encounter
with your extraordinary artwork?
I hope that viewers feel a sense of awe,
intrigue, and willingness to engage in a
dialogue about ethical considerations
in art, fashion, and technology. My
overarching goal is to initiate conversations
about animal rights, fostering a shift away
from viewing animals as mere resources.
The ultimate vision is a world where
animals are not considered property but
are recognised as sentient individuals,
entitled to subjecthood status, and
protected from enslavement and
exploitation. This project seeks to evoke a
spectrum of emotions, from sensuality to
provocation, with the hope that viewers
emerge empowered to challenge societal
norms, particularly those rooted in nonvegan
practices.
Animal rights are a logical extension
of human rights, rooted in our shared
capacity for subjective experiences
and sentience. Excluding individuals
based on their DNA is a moral stance
we must abolish if we aspire to create
a harmonious world where no one is
marginalised.
This is the essence I strive for in my work
— an experience that’s not only visually
enjoyable but also offers the delight of
discovering intricate details.
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CAN U FEEL
PHOTOGRAPHY BY KIKO DIONISIO @KIKODIONISIO_PHOTOGRAPHY
THE MODEL IS TRAPEZIST, ACROBAT & PERFORMER MORITZ HAASE @MORITZXHAASE
THE RUSH?373

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I FEEL THE RUSH
ADDICTED TO YOUR TOUCH383

Photography: Panos Misailidis @p2photographygr Model: Dimitris Toufexis @dimitris_toufexis Fashion Director: Billy Hazel @billyhaze
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