10/01/2013

At the Going Down of the Sun

At the Going Down of the Sun

The one thing you don’t expect, that takes you completely by surprise, is the beauty. As your heart pounds and your vision is distorted by misty eyes, you find yourself just standing and staring, silently, at gravestone after gravestone; white monuments against a brilliant white ground. And it’s stunning.

Encased in snow during winter, the battlefields of Belgium and France need to be experienced. Almost every family has a story from the Great War – a relative, a memory – and coming here gives those stories meaning, gives history some context. The Menin Gate, Hill 60, Polygon Wood, each memorial has its own significance and whether you travel by car, bike or foot, being here really helps you comprehend the enormity of it all.



From Tyne Cot Cemetery you can see where the 1917 Battle of Passchendaele began and ended. Once a mess of quicksand, the sloped ground now holds thousands of immaculate graves, each engraved with an epitaph that’s simultaneously poetic, incensed and tender. “Would some thoughtful hand in this distant land please scatter some flowers for me”. “He is not dead for such as my noble husband lives for ever”. “Another life lost, hearts broken, for what”. Beyond the graves is a wall covered in 33,000 names belonging to soldiers missing in action. Never found, never buried, but remembered.

Even the smallest sites prove meaningful. At Fromelles Australian troops had their first and most disastrous encounter on the Western Front. Understandably, the memorial here is simple. 410 Australian soldiers sharing two gravesites, marked by a large paved cross. Each soldier has a rose bush growing around the outside of the plot. On a larger scare there’s Newfoundland Memorial Park, a Canadian memorial filled with grass-covered trenches. Wandering through these you come across a small cemetery where many graves are shared, Private and Corporal buried together. Reading the stones certain things strike you – the ages of those fallen and the fact that so many simply state “A soldier of the Great War Known Unto God”.


At Lochnager Crater, the site of an explosive-packed mine that was detonated on July 1st 1916, the first day of the Battle of the Somme, a lone bench overlooks the surrounding snow-covered fields. Flat, seemingly barren and freezing, looking at this land, it’s almost possible to imagine the bleakness of a wartime winter. Beside this bench stands a poppy-covered cross, made with wood from Tynesdie in the UK, symbolically honouring the British who fought here.

Among these battlefields, history is very much alive. But it’s not necessarily just the cemeteries or memorials that remind you of this. Instead you realise when you walk past a freshly plowed field and inevitably spot the smallest piece of aged shrapnel. As locals are quick to point out, you don’t need to dig very far to find something.


Liz Schaffer – Photos Liz Schaffer & Angela Terrell

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09/01/2013

It’s All About Knit, Match And Fix

It’s All About Knit, Match And Fix

Ex Central Saint Martins student, the talented Shao Yen has worked alongside names such as Hussein Chalayan and Alexander McQueen. Taiwanese of birth, he does not betray his good asiatic traditions in being able to work and assemble disparate fabrics and materials: nylon, cashmere, lycra and copper. Urban knitwear that mixes in a convincing potpourri sporty attitude and whispered eroticism. In short, there are not many young designers who can say they’ve created a bespoke suit for the legendary Björk.


Tell us something about your life in Yilan. What do you bring with you around the world and which suggestions do you impress in your creations?
Yilan is a very simple and friendly city. I grew up there, so whenever I return, I feel at ease. I think I have gained the love of nature and a kind of relaxing attitude towards life from my time there, which I think I carry within me wherever I go and when I create.

You did some interesting internships at Alexander McQueen and Hussein Chalayan. In which way their kind of touch, their poetry and style have influenced your fashion approach?
Apart from their influential work, I was most impressed with their passion and attitude for work. My experiences at their studios also made me realize how hard this industry could get even for notable designers like them.


What is your idea of Woman?
Fashion is about the exterior, but a woman has to have the confidence and wisdom to manage what she’s wearing. I hope my designs will offer more imagination for a woman to re-create herself.

Knitwear and embroidery, mixing materials and matching surfaces: when practice becomes an integral part of garments. What does it mean for you?
Although they might be labour and time consuming, these techniques allow designers to have more room for innovation. The experimentation with fabric or textile is something I always want to keep in my designs.

Just a curiosity: what a stunning and mind blowing honor has it been designing a dress for Björk?
She is such an inspirational artist and she always keeps pushing the boundaries of art and music. I’ve been a big fan. So having this opportunity is like a dream come true for me.

Antonio Moscogiuri Dinoi

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08/01/2013

Can Design Affect Education?

Can Design Affect Education?

A few months ago UK government’s education secretary Michael Gove has announced new guidelines for educational architecture. The guidelines state that there should be “no curves or ‘faceted’ curves, corners should be square, ceilings should be left bare and buildings should be clad in nothing more expensive than render or metal panels above head height, as much repetition as possible should be used” with the obvious goal of diminishing the government spending on school building costs. While we can all agree that no government’s money should be spent on architectural extravaganza, we should take a step back in the process and try to understand what design is, or should be, all about.


Despite the fact that it has become commonly associated with all sorts of stylish products and luxury buildings, architecture and design do have a strong social and cultural purpose at their base and, if used well as an instrument, can help our lives become a great deal better than we could even imagine. Even though we might not get that far and state that “the simplified design guidelines are the architectural equivalent of feeding children McDonald’s every day”, as one of the architects protesting about the proposal has stated, there still seems to be plenty of space to offer a re-evaluation of the significance of architecture in our lives.


In fact, a recent study has found that “well-designed classrooms could improve pupils’ progress in lessons by as much as 25%”. Besides the practical implications of narrow corridors and small classrooms that might make both students’ and their professors’ environment a bit less pleasant and more difficult to manage, there seems to be some obvious evidence of the relation between educational environment and learning progression. The Salford study has found that the following principles affect most the brain functions: how “natural” it felt to be in the room, the extent to which the room felt individual to its occupants, and whether it stimulated them. It might not seem much or very revolutionary, but it is clear that a well-designed school does make a difference, and not only from an aesthetical point of view. While anyone might argue that design equals more money, we must strongly disagree. Good design actually implies that maximum result could be obtained even on a tight budget while also having “a truly positive effect on the way children learn”. Some reasons for Mr. Gove to maybe seriously reconsider what design is all about.

Rujana Rebernjak

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07/01/2013

DAVID CLAERBOUT | Finissage

DAVID CLAERBOUT | Finissage

This is the last week to see the first solo show in Italy by David Claerbout (b. 1969, Kortrijk, Belgium) arranged at Mart, The Contemporary and Modern Art Museum of Trento and Rovereto, which will run until 13th January 2013. The exhibition, overseen by Saretto Cincinelli, — showing once again the non-expected research activity carried on by the renowned Italian institution — presents an overview of the international Belgian artist, who might still be less recognised in our country but, for sure, deserves to be discovered and appreciated for his unique and personal approach to contemporary art. 
After abandoning painting to work with film, starting from collecting photography, Claerbout focuses on time, and more precisely, on the three aspects of past, present and future, suspending and unifying them in one surface to evidence the different associations and interpretations of one, single image.


One of the first, and significant works by the artist is Untitled (Single Channel View) (1998-2000), which is the projection on a wide screen of an old b/w picture representing a classroom seen in diagonal, where all the students except one are looking out of the big window, towards a blinding sun; the light coming from outside reflects the shadows of two trees on the background wall. Everything seems to be calm, the guys are totally still and nothing moves as it should be in a picture but, watching closely, it is possible to see the leaves fluctuate slowly, almost imperceptibly, returning the spatio-temporal lag between motion and immobility, and creating a combination of photography and cinema. The proposed image is plausible, but something artificial floors the viewers, who find themselves within a sort of both present and past tense.

Making use of digital techniques, Claerbout goes beyond the codified distinction according to which photography captures an instant, while cinema tells the flows of time. In Long Goodbye (2007), the artist, once again, shows a sole picture, projected without sound, yet here the image is in colour and the movement is more evident. A woman with a tray gets closer, she places the tray on the table and turns her head toward the camera (to us), while the camera distances itself and time dilates. The flow of time is characterised by an incongruous play of lights and shadows – on the house walls –, which generate a sort of accelerated sunset. Here is the paradox between speeding up the time of the surrounded space and slowing down the woman’s gestures. Time-slice draws the attention to something we don’t know, because we cannot see anything more, and nevertheless the details abound, we aren’t able to totally understand what we are looking at.


Opposed dichotomies – movement/stillness, slowdown/acceleration, reality/assemblage of fictitious images – compose imaginaries apparently uninterrupted, which are actually hold through technical artifices. The show, dialoguing with the museum space arranged by the architect Pedro Sousa, sets up a non-narration where everybody looks at something and everyone are observed, but where nothing really seems to happen, a non-event.

Until 6th October 2013, along with David Claerbout, Mart will also present La Magnifica Ossessione (The Magnificent Obsession), an exhibition displaying 2.784 objects of its collection – defined by Cristina Collu, the director: “Self-taught, water-diviner, auto-da-fé of works. Victim or protagonist, recomposed collection, disturbing and provocative, maniacal and fetishist. Obscure object of desire. Secret, sharing, intoxication, celebration. Giddiness of blending” – to celebrate the first ten years of ‘well done’ activity.


Monica Lombardi

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06/01/2013

Sunday Breakfast by Love For Breakfast

Sunday Breakfast by Love For Breakfast

Gentleness that enhances the sight and taste. The simplicity of a true awakening.

Alessia Bossi from Love For Breakfast

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04/01/2013

Varigotti, A Slice Of Morocco In Italy

Varigotti, A Slice Of Morocco In Italy

In some places time passes more slowly than others. In these places the people who were grannies and grandpas already when you were a kid haven’t changed a lot even after twenty years, they just have few wrinkles more. Crumbling houses are still there and cars that are not produced since long keep on frolicking in the town alleys. People who love big cities and their chaos, or just can’t stand living away from them, won’t resist more than two days in such small, lonely places. But it can happen that the sight of the fresh fish in a wicker basket and the old lady sitting with a cat on his lap, together, make some usually silent inner chords resonate even in a metropolis-addicted person. Have you ever heard about Varigotti?


Italy has hundreds, thousands of small villages unchanged after the second world war, when the so-called economic miracle began that transformed Italy from rural to an industrialized country. Varigotti is one of them: a niche seafaring venue, part of the small commune of Finale Ligure with a beautiful, enigmatic seafront. The colored little cottages on the shore, so near to the sea that water almost touches the stair-steps, call to mind the bright Moroccan casbahs. Nevermind if the hot nights in Tangeri here are just lukewarm and anonymous. You are here for rest, aren’t you?


A November weekend in Varigotti didn’t cost a lot: 70 euros per head a day. Forgetting thai massages and spicy mud baths, to relax we chose the Inn and Restaurant Muraglia-Conchiglia D’oro (Via Aurelia 133), one of the best in the area. The restaurant shows an ingenuous and retro look, but the real treasure lies in the details: fresh fish lay on wicker baskets, waiting for being cooked on embers. You can choose between a variety of sea recipes such as mullet sauce or a whitebait fritter. Let’s not forget the Inn. Rooms overlook on a garden of trees full of oranges ripe and ready to be picked by anyone. On the shore, especially during winter, you probably won’t be finding many tourists. Small and colored, overturned boats just wait to be photographed. Not far away, on a curved alley, an Ape-car takes supplies to the restaurant.


Antonio Leggieri

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03/01/2013

The Fashion Schools

The Fashion Schools

They’re the history of the creatives we admire and the cradle of the industry itself. They’re the institutions shaping the minds and skills of future designers, couturiers, writers, cool hunters and PR mavens. They’re the home of the students who are certain, even though curious, of the world they want to work, live and breathe in. Over the coming months, The Blogazine will take you on a tour in the world of the European fashion schools.


To say that you ‘study fashion’ is about as general as saying that you study the society as a whole. The subject itself is as wide as it is large and carries a whole bunch of professions. As many aspiring designers there are, as many (if not more) young professionals are aspiring, and needed, to work with and around those designers.

Most professions fit into the profile of a regular University – a well-known educational system where the engineer students share the hallways, or at least the seal on their diplomas, with the philosophy students. There are fashion studies programs and courses that appear on the list in between other subjects, but still you will find most of the students allocated over high profiled schools in cities like London, Paris, Milan and Antwerp.


Some say fashion students become limited, other say they become experts. In any matter, it is a fact that something is alluring enough to make them move over-seas only to attend that one particular school. From where comes the ‘need’ to educate yourself at a fashion school, and, is it a ‘must’ to acquire as much knowledge about the business as about your specific profession? Do fashion students in fact become fashion experts? Follow our series on fashion education and get the answers from the people who know.

Lisa Olsson Hjerpe – Image courtesy of Rhisiart Hincks & Jakob Hürner

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02/01/2013

Shows To Be Excited About In 2013

Shows To Be Excited About In 2013

While everyone is finishing their ‘best’ and ‘worst’ of 2012 lists and while we are slowly becoming more aware of the fact that yet another year has past, we thought that the best way to fight melancholia and resentment in not meeting our 2012 goals is setting a new list of those for the upcoming year. Well, here is a short list of exhibitions that shouldn’t be missed in the new 2013 year.

Extraordinary Stories About Ordinary Things
The end of January welcomes the first of our beautiful 2013 shows. With quite a geeky design title “Extraordinary Stories About Ordinary Things” this exhibition at Design Museum in London aims at unveiling the key designs that have shaped the modern world, tracing the history and processes of contemporary design. This exhibition should run for two years offering a comprehensive view on design and includes furniture, product, fashion, transport and architecture alongside a selection of prototypes, models and films.

Wait, Later This Will Be Nothing: Editions by Dieter Roth

This February will see the opening of a retrospective of Dieter Roth’s particularly dense print work at our beloved MoMA in New York. One of the fathers of the contemporary artist’s books ‘genre’, Roth has through the years (and this show is particularly focused on the period between 1960 and 1975) created numerous works that played with the idea of books as objects. From book-sausages filled with paper instead of meat (Literaturwurst) to pieces dipped in melted chocolate or a series of postcards, this exhibition tries to gather all of his major book-works among which a particular relevance is given to the book Snow. This is the show many of the contemporary publishers trying to delve in the artist’s books world should really look up to!

David Bowie Is
As the year marches further, even the shows get spicier! Hence, this March, precisely March the 23rd, will see another grand opening: the already much talked about David Bowie retrospective. The V&A has been granted the exclusive access to David Bowie Archive in organizing a truly amazing show that will explore “the creative processes of Bowie as a musical innovator and cultural icon, tracing his shifting style and sustained reinvention across five decades”. More than 300 objects, including handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, Bowie’s own instruments and album artwork are bound to reveal almost everything about this amazing artist and on of the greatest icons of the 20th century.

If these shows don’t amaze you and are not worthy of your 2013 list of goals, please make sure you anyhow manage to squeeze some art and design in it, it should make your life a bit better!

Rujana Rebernjak

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