15/04/2011

apartamento #07

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apartamento #07

Issue 07 of apartamento is out! Featuring a cover by Juergen Teller, the compact little digest is choc-full of excellent writing, warm photos and tactile paper that makes it nice to touch. It’s perfect, as always, to curl up with for a long read.


There are interviews with Alice Waters of Chez Panisse fame, Vuokko, Juana Molina, Bruce Benderson, illustrator Liselotte Watkins (who we interviewed a couple weeks ago ourselves), and design photography great Marirosa Toscani Ballo, in addition to others. There’s a snappy piece on fast-food burgers and other food features.


Tucked neatly inside is a neat supplement called “oficio y criterio” which explores the lives and roles of 10 Spanish maker-shakers. And of course, there’s a wealth of imagery by apartamento co-director and 2DM photographer Nacho Alegre. His brick still-lives are especially gorgeous.

Tag Christof

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07/04/2011

Revista Rara | Guatemala

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Revista Rara | Guatemala

Guatemala probably doesn’t blip your radar when you think of design, art or good magazines. In this small country where political controversy and violent scandals are top of mind, high quality, incisive publications can be very rare finds, indeed. But with a clean and fresh perspective, Revista Rara manages to be an exceptionally good digest of design, art, architecture and culture. Made by a team of only native Guatemalans, this is a gutsy, fresh and well-curated magazine that wouldn’t be out of place on the newsstand of colette or any other discerning magazine stand. Seriously, it’s that good.


This month marked the launch of Rara’s third issue, and not only is the art direction fantastic by any standard, the magazine has a distinctive voice that is the result of its sharp eye and the culture that surrounds it. The magazine is filled from end to end with Guatemalan talent from the likes of Cedrick Arenales, Juan Brenner or Byron Mármol. The publication’s vision is specially focused on Guatemalan and Latin American projects, and gives us an interesting insight into the creative atmosphere in this oft-overlooked corner of the globe.

RARA’s creators, Andrés and Luisa, are both passionate artists and work from a “genuine and passionate Central American point of view.” From their work you readily really tell that the team they have put together operates for no higher purpose than to carry out their passions. They write, photograph, paint and generally create because it’s what they love to do.

And the magazine’s title couldn’t possibly be more appropriate: rara in Spanish means rare, unique and weird. But the only thing rara about it is that you can’t find it outside Central America. It’s gorgeous to real creativity sprout up in an unexpected place. Maybe it’s about time we shift our perceptions and look beyond our borders a little more willingly… there are treasures to find!

And so, we think RARA deserves a hearty cheer, Guatemala style: RA! RA! RA!

Juan Alvarado & Tag Christof – Special thanks to RARA

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04/04/2011

The Editorial: Hugh Holland and The Lost Art Of Living

The Editorial: Hugh Holland and The Lost Art Of Living

The world over, cities are crawling with glossy girls and prissy boys whose only aim in life seems to be to perfect their appearance. It’s easy to blame fashion, especially from the outside, but the real culprit is much larger, and the exact opposite of fashion. Blame a well-oiled marketing machine, terribly misguided values (embodied in terribly misguided pop stars), and a fragmented Western culture mostly devoid of nagging discomforts…

We recently came across Hugh Holland’s 1970s photographs of Southern California kids who lived life on the decks of skinny, precarious banana skateboards. They commandeered dry swimming pools, they wore tattered Vans and had suntans. Theirs was a beauty that burst from within. Their exuberance and lust for life was boundless – and captured gorgeously by Holland, who was himself interestingly not a skateboarder. He could see that these kids were alive!

Most striking about Holland’s photos, though, is just how sharply their exuberance and energy contrasts with the pretence of today. Sure, more kids skate now, but it’s only because marketing types seized on the sport’s potential. Endorsements. Video games. And now every suburban kid and pretentious fashion victim worth his salt is somehow a skater, bro.

Going down to the stake park is no longer about the art of skating. It’s about trash talk and showing off your jeans. And the days of the banana board and California sunshine are over: not only do kids no longer roam the streets in search of adventure, they aren’t allowed to venture beyond their front doors without a helmet and fifteen kilos of other protective gear. Is this overprotectiveness the root of the problem? What harm did a healthy scratch do? And in an age of preteen Starbucks patrons, maybe its our inability to be kids – and our inability to let our kids be kids – that keeps us from living openly and exuberantly. Who knows.

So, instead of getting out there and pioneering and exploring in search of something truly new, we only seem to be capable of remixing that which came before. Without a moment’s thought about the lifestyle the look was born of, we dress like skaters. Or strap on a pair of Doc Martens we just bought with daddy’s credit card and claim to be punk. (You’re not punk. Full stop.) Or worse still, we copy something that means absolutely nothing. And we take photos of ourselves on the and post them to Lookbook, hoping desperately that someone will validate our desperation with “hype.” Except those hype points… well, if you say so!

Now, we don’t pretend to have a problem with appearance. On the contrary, in fact. But, shouldn’t a look be the result of a life lived? Of a passion? Of a belief? Your own?

Perhaps our old pal Vivienne Westwood said it best when she proclaimed that ‎”Johnny Rotten and all the others were a bunch of conformists. It’s not green hair that makes you different, it’s your brain, your attitude towards life.”

You’ve got that right, Viv.

Catch Holland’s book, Locals Only, at Ammo Books.

Tag Christof – Images courtesy Ammo Books 

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30/03/2011

2DM Rocks Elvis: It’s Now Or Never!

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2DM Rocks Elvis: It’s Now Or Never!


2DM’s killer new poster for 2011 has arrived!

Designed by art direction duo Tankboys in collaboration with 2DM and features a photo by Vicky Trombetta.. On its flip-side are some sage words-to-live-by, rendered in the hand of calligrapher extraordinaire Luca Barcellona. Our outlook in these uncertain times is only on the adventures that lie ahead. We’re all about seizing the moment – and the moment has come! Learn! Experiment! Push the limits! Make the day yours!

It’s Now Or Never…

Tag Christof

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28/03/2011

The Editorial: Let’s Get Lost / Chet Baker

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The Editorial: Let’s Get Lost / Chet Baker

Bruce Weber’s 1980s documentary on the life of Chet Baker is imperfect and messy and visceral. And brilliant. Chet Baker himself was a glorious disaster. His life was a drug-fuelled tragedy, truly lived. He’s the type of person who most certainly couldn’t be a product of today. Life has become too antiseptic. He’s too unpretentious. The values that were Chet Baker are long dead: he was compulsive, dedicated and straightforward. But he lived. Military tours. A year in an Italian prison. Mountains of drugs. Women. And a creative life lived through brass instruments and a serene voice.

It feels, strangely, that we’ve taken several steps backwards since Baker’s time. This film’s genuine emotion is unmistakable. And although the hip kids of today do a pretty good job of aping its style, the original remains, with its imperfect and unrestrained beauty. All the more so in retrospect. But beyond the patina, there is a substance here. A joie de vivre that you’d be hard pressed to find anywhere nowadays.

Our selves are mishmashes of conflicts, born out by superficial behaviour. Since the beginning of Western civilization we’ve partied and acted posh and copied the dress and manner of halfwit celebrities in a desperate attempt to be… who, exactly? But today, as culture, fashion and art fragments, a creeping sense of genericness is impossible to avoid. The Chinese have dragged American hyper-consumerism to dizzying new heights. They mix age-old pop song formulas with glossy production to make pleasant, one-size-fits-all muzak that lulls listeners into submission. Blithe, unquestioning submission. Nobody fights back.

Even in behind-the-times boutique Italy, we buy everything we eat at crowded, characterless chain supermarkets. Everyone has something to say, but as Twitter’s epic information gathering proves, we all say the same things in the end. Drone. Overload. Fast food. Fast fashion. Perhaps our fatigue stems from the spin media has thrust upon a string of revolt-disaster-war-austerity. Or from sanguine and hollow messages of hope. (Hope for?) And next year is 2012. Tick-tock.

And the gravitation of connoisseur towards the infinitely more human texture of analogue speaks volumes about films like Weber’s. Across mediums, the look and feel of works made way-back-when possess a uniqueness and a truth that is just plain absent today. Light to image to paper by mechanical and chemical process.. Music from instrument to media to ear without digital wizardry. Magic is always lost in electronic translation. Silicone augmentations (of all types) are fake. Silicone chips facilitate fake. And fake is pretty damn unfulfilling.

But, can we bridge the gap between the visceral, unfiltered life of the dark old days with hyper-generic today? LIBYA. TSUNAMI. DRESS €9.99 AT H&M. GAGA. ECONOMIC COLLAPSE. GUCCI. WAR. FAMINE. NUCLEAR DISASTER. Can we get past it? Excess and drugs and the inevitable hangover taught us a lesson or two, but you’d think we’d have emerged with a new lease on life. Not blinders.

When it comes down to it, kids, we really need to get back some of this raw, real life. Experimentation. Fuck ups. Bruises and scars. Life lived in horrifying three dimensions with wind-in-face sunburns and morning hangovers. Let’s get out there. Because there’s nothing more distinguishing than well and truly living.

Tag Christof

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23/03/2011

We Are With You, Japan

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We Are With You, Japan

The magnitude and scope of the disaster in Japan cannot be overstated. The official death count continues to rise as missing persons are found and definitively identified. In any case, the number of casualties has already far surpassed that of central Italy’s tragic 2009 earthquake, as well as that of any terrorist act on any industrialised nation in our lifetimes. And the long road to repair the nation’s immediate damage may be blockaded by the far-reaching and long-term effects of nuclear disaster. Japan’s citizenry faces a tumultuous road ahead with destroyed cities, infrastructure, and potentially, livelihoods. The effects of this disaster must be remembered long after the disaster itself has been forgotten by newspaper headlines.

We Are With You is a straightforward initiative for solidarity launched by a Japanese citizen outside her country hoping to make a difference. By building a network of support across the world, the project strives to promote a sense of human connection and common sentiment from end to end of the planet. It is a gorgeous gesture and should go a long way towards building morale.Through the website, you can also donate to Tokyo-based NGO JEN (which has itself had a part in helping nations and peoples in need outside Japan following recent natural disasters), with all proceeds to be tallied and sent on April 15th.

Japan is a vibrant, resilient, innovative nation, but it needs the world’s attention and cooperation as would any other in a similar predicament. And in times of hardship and uncertainty, solidarity is an unequivocal message. Beyond the fact that we share a human condition, our own creative industry (and, indeed, that of the entire world) owes a great debt to Japanese ingenuity. We hope to be part of making sure everyone emerges from this stronger, wiser and closer, and invite our readers to participate in the project with their own photo. Download the logo here.

To our Japanese friends, clients and colleagues, We Are With You.


The Blogazine and 2DM together with several collaborators is organising a benefit on behalf of Japan in the coming days. We’ll keep you posted.

Tag Christof – Very special thanks to Eri Tsutsumi

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18/03/2011

Creativity for Good

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Creativity for Good

We all know French artist JR won this year’s $100,000 TED Prize this week. Even amongst his illustrious fellow TED alumni, the pioneering individuals exploring the limits of our universe, our economics, our medicine, he deserved it. He daringly crossed dangerous cultural and political boundaries time and time again to prove that humans are humans are humans despite our insistence otherwise. JR’s work showcases not only photography’s innate power for affecting emotion, his string of projects demonstrate brilliantly the human need for a strong voice. Creative upheaval is the prélude to social upheaval, after all.

And this may mark the first serial occurrence of art being made in conflict zones for the exclusive benefit and enjoyment of the people within them. JR’s large scale art was not made to be dissected and gawked at by westerners, and that in and of itself marks a paradigm shift. And since the artist, works free of any brand, sponsor or gallery obligation, his work remains unclouded by agenda.

The importance of his winning of this particular prize, in any case, cannot be understated. TED is a viral platform for intellectual discourse broader and more well-respected than any other. JR’s work, born of graffiti and defiance – as well as work of other artist activists by extension – enters into the cannon of unquestioned respectability. The inroads ostensibly made by the likes of Shepard Fairey and Banksy and Space Invader before him have been cleared. And while this may mean artist activists are no longer the fly-by-night, black knight badasses they once were, they are still badasses. But not badasses who consciously construct auras of badass around themselves: they’re badasses because they innovate in the name of good.

In a broader sense, what we are witnessing today (to say nothing of art’s schizophrenic democratisation) is creative culture’s wholesale shift towards benevolence. It seems the most pleasant side effect of our over connectedness has been an attack of conscience: never before has there been such a critical mass of creativity for good! From Fuseproject to Kickstarter to GOOD and even to Pepsi’s impressive Refresh project, the initiatives are plenty. Witness the rise to demi-stardom of the unassumingly brilliant scientist Hans Rosling, who uses motion and attractive graphics to bring important statistics to life in extraordinarily enjoyable ways. The study of ethics has surged. The best design education now seeks to cultivate culturally aware innovators. Starchitects like Zaha Hadid and Frank Gehry, whose quixotic projects have little value beyond their wow factor, are being supplanted by visionaries like Bjarke Ingels, whose wildly imaginative and socially relevant projects are shifting paradigms about our lived-in future.

JR’s art exemplifies these shifts. He was a rowdy kid whose genuine inquisitiveness and capacity for human connection brought him to a position in which his penchant for change will allow him to be a conduit for progress on a much grander scale. The outgrowth of the prize is called Inside Out Project, and is a sort of fermata in the path of his body of work up until now: it will take guerilla art farther and wider than it’s gone before. And the best part is, he’s leaving it up to you and I to figure out what to do with it: we send him a portrait, he’ll blow it up and send it back.

We all know something has capitulated in our collective conscious. And we’re ecstatic now that it’s official.

Tag Christof – Images courtesy Inside Out
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15/03/2011

In Conversation With Conflict Kitchen

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In Conversation With Conflict Kitchen

Pittsburgh, Pennsylvania, the American city best known for its now mostly defunct steel industry, became home last year to a tiny food stand with a noble agenda: Conflict Kitchen serves food exclusively from nations with which the United States is at conflict. And while Pittsburgh is not generally a centre of groundbreaking intercultural debate, the provocative and ingenious locale has caused quite a stir, and is an eminently appropriate institution for understanding. It is, both in concept and execution, an admirable initiative the style of which the the star-spangled red, white and blue (as well as the rest of the western world) could use quite a bit more of.

Began as an experiment by artists Dawn Weleski, Jon Rubin and John Peña (all associated with Carnegie Mellon), Conflict Kitchen hopes that genuine, personal engagement and ground-level encouragement of good old-fashioned conversation will spark debate and promote awareness. The widely misunderstood (and underrepresented) cultures the project highlights are brought to the attention of diners who might otherwise remain oblivious to the humanity and nuance behind the amorphous enemy their own country might be bombing. With powerful graphic design, involvement of individuals from the represented cultures, an ethical imperative and an open mind, the kitchen has succeeded admirably at bringing to life a sort of modern day, kerbside salon.

It is the incisive power of food, however, that is the real conduit of the project’s power. Building bridges to our fellow man, it seems, is best achieved through food: it would be no accident to assume that Italy’s titanic 20th century blunders were quickly swept under the rug thanks in part to its divine cuisine. And it remains an oft-overlooked fact that in an age of fast-food exotic fare, there continue to be gigantic holes in westerners’ culinary maps that leave the cultures behind them somehow diminished.


Serving Afghan fare in its current iteration, Bolani Pazi, it has previously served Iranian and has at least two other menus on the horizon. The project garnered an impressive following on Kickstarter, and will hopefully inspire other platforms for understanding through food.

In a short conversation with The Blogazine, Conflict Kitchen’s Jon Rubin explained the project’s vision and let us in on plans for future iterations:

Conflict Kitchen is a bridge to cultural understanding through food and good, clear design. Is your goal primarily to build awareness of the individual cultures or, more generally, to build an appreciation for our shared humanity?
I think our goal is both. On one level we are responding to the lack of representation within our city for the cultures within these countries (there are no Iranian, Afghan, Cuban, Venezuelan restaurants or cultural centres in our city). On another level we are trying to connect our customers very experientially with the ideas and thoughts of people living in these countries, and to get them to open up to a conversation on the socio-political dynamics at play. Certainly its very difficult to bomb a country or more specifically a populous whose culture and humanity you understand and respect. Americans love good guys and bad guys, black and white, and the truth of course is always fluctuating in the grey middle.

We are interested in presenting a more nuanced conversation on life within the countries we see represented through the narrow media and policy lens of conflict and discord. The quotes on our current food wrapper come from many different Afghans, and frankly they are sometimes in disagreement with each other. Opening our customers to questions as opposed to new oversimplified answers is for us a powerful form of political engagement.

Have you had any sort of resistance to the project?
Very little really. Some small online grumbling. But that is to be expected.

Any plans to branch out with other locations, either inside or outside the US?
We have discussed the possibility of branching out. Its really very hard as Dawn and I are involved on a very intimate level with the project. It’s also a strange business/art/politics hybrid that needs quite a bit of care and support to thrive in the public sphere. We are having some conversations nationally and international, though nothing solid yet.

I can understand if you’re not willing to leak a spoiler, but what’s in the works for future incarnations? Maybe North Korea?
Oh, it’s not much of a surprise. We will be focusing on North Korea and Venezuela in the near future.

Conflict Kitchen is located in Pittsburgh’s East Liberty neighbourhood.

Tag Christof – Images courtesy conflictkitchen.org – Very special thanks to Jon Rubin

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14/02/2011

Marco Klefisch / Ala Champfest

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Marco Klefisch / Ala Champfest

2DM illustrator kingpin Marco Klefisch’s was just featured in experimental Aussie/Brit mag Ala Champfest. Klefisch’s work was featured alongside an extensive interview on an eight-page spread where he mused on about the nature of his work and also talked at length about Wonder-Room, where he showed with Studio Fantastico in May.

Of the event, Klefisch recalled, ‘The show, titled “Mirrored,” was conceived in a small temporary space called Wonder-Room, an empty space which hosts these serial events promoted by 2DM / Management. They connect a young studio with an artist for a small exhibition based on a short selection of works. I based this show on my background production in relation to illustration. There was a good amount of interaction and I was happy about the final results on my photographic background work.’

Ala Champfest bills itself an “ever-relevant graphic and image-based journal magazine,” and fittingly features an awesome roster of graphic designers, illustrators and otherwise provocative image makers. Klefisch’s multilayered and thought-provoking work has otherwise been published in Vice, The End and tons of others.

WONDER ROOM n° 4 OPENING from WONDER ROOM on Vimeo.

Wonder-Room’s story is set to continue with its next chapter during Salone Del Mobile, with a new exhibition in a new space…

Tag Christof

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11/02/2011

Mick Jagger. The Photobook.

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Mick Jagger. The Photobook.

Sunday marks the close of “Mick Jagger. The Photobook.” at Fondazione Forma per la Fotografia. Curated by François Hébel and featuring the most iconic shots of Jagger from the gamut of the last half-century’s portraiture greats from Cecil Beaton to Anne Lebovitz and seemingly everyone in between. The exhibition takes a look at his position as the definitive and undying icon of rock stardom. And in the context of today’s musical landscape, Jagger’s seeming permanence in rock iconography is jarring. He is nothing less than a cultural monument.

Movements in culture and art no longer gel and dominate for a decade or so at a time, but ebb and flow by the season, each one borrowing gratuitously from something that came before it. For music, save today’s disastrously bad radio pop (which survives as the last bastion of old distribution models and thanks to the easy manipulation of pre-teen girls), this means no more definitive sound. No more definitive rockstar. Jagger is the last.

And as we listen to ever more sophisticated music in ever more isolated space, lost in noise-cancelling devices and privy to exponentially larger and more eclectic music libraries than were imaginable even a decade ago, one can only wonder what fragmented legacy today’s music will leave. The sound of a decade is no longer galvanised in a style, no longer called to mind by a distinctive song or particular instrument, and also no longer subject to its level of technology. But decades from now we’ll all still listen to Jagger and the Stones. Probably with our grandkids. And our parents. And probably out loud.

Catch the exhibition while it’s still open, together with a parallel show of emotional Marco Anelli works, at Fondazione Forma per la Fotografia in Piazza Tito Lucrezio Caro 1 in Milano.


Tag Christof – Images courtesy of Daniele Testi

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