AB: Why was it important to make the film?
AT: Because people think that modern art began with Andy Warhol and ends with Damian Hirst and Banksy.
If that quote’s not enough of a reason to check out the whole interview, I don’t know what is. You can read it at www.post-new.com.
photo of William, father of Alex Turnbull.
Jim Mangan is a photographer who’s work evokes a freedom and unpredictability in both the subject and viewer that is quite extraordinary, never failing to take you on a journey without boundaries. A favorite of brands like Stussy and magazines such as Vice, Dazed and Confused, Nylon and the New Order - Jim has shown his major exhibitions Color’d and Winter’s Children in numerous galleries to devoted audiences. Today he speaks with our own Angela Bevan for Post New.
I interviewed Jim Mangan and you can read the whole thing if you like … again, here; www.post-new.com.
Angela Bevan: What you did with Winter’s Children felt like some kind of visual, random act of kindness. It brought magic back to a scene that had become distinctly un-magical. Is this the kind of impression you intended?
Jim Mangan: The real message in Winter’s Children is simplifying and community. It hopefully speaks metaphorically to anyone who has lost site of what it means to feel alive. It’s definitely not just meant for the snowboarding world. For me, snowboarding is something I have a very strong connection to and it was the best platform for me convey the way I was feeling. It’s all about getting back to the basics and having that camaraderie with one another, that direct human interaction, laughing, and working together to have those truly meaningful experiences in life. We don’t truly connect with one another through social media and our computers. It’s also about learning to let things and possessions go that weigh us down.
I interviewed Simon Porte Jacquemus for post-new … read it at www.post-new.com;
Every now and then a designer comes along that stands out above the rest and we all know that there’s no such thing as too much hype. Simon Porter Jacquemus’s brand has very quickly become a favorite of fashion editors around the world, but there’s no corporate push making this happen and no backlash toward the hype…just a pure love and admiration of the young French designer’s work. There’s something truly refined and beautiful about Jacquemus, but at the same time the clothes manage to fit into the deconstructed world which we live. There’s no doubt in my mind Simon Porte Jacquemus is a name which will soar, and I wanted to find out more.
I posed some questions to Alice Temple for an amazing two part feature at post-new…. read the whole thing at www.post-new.com.
In today’s crowded room of music genres, fashion muses and new thought, it’s important to give a nod to those who were here first. Sitting not very quietly in a corner is Alice Temple. She’s performed with UNKLE, been shot by Testino, and was a key player in the dawn of the New Romantic movement in the 80s. Her iconic status has never dimmed. Today she speaks to Post New.
I recently interviewed Rafael de Cardanas for post-new.
Read the rest here; www.post-new.com
Refreshingly unpredictable and consistently brilliant, Rafael de Cardanas is responsible for some of the finest interiors in the world within settings both commercial and domestic. From Calvin Klein to the World Trade Centre to his first line of furniture, de Cardanas has turned his hand to many things and has been called a true Renaissance man. We completely agree. Here, he talks to Post New.
Angela Bevan: You’re an incredibly flexible designer and seem to excel at a huge array of styles and moods…would you say you are flexible in nature? What is it that allows you to hear/interpret your clients so well?
Rafael de Cardenas: Focusing on creating a mood rather than mimicking a style or era allows me to sample from a wide selection of my interests, whether it be music, fashion, art, or architecture, and the histories of all of those. It’s not necessarily that I am flexible in nature, but have a lot of interests which are played out in many ways. Also, I often get to work with clients who are willing to take risks and trust my choices.
AB: You’ve completed many different types of projects…is there a dream/ultimate job? A box you’d like to tick?
RDC: Luckily enough, we have been able to work on many of our dream jobs, and we are able to tick boxes regularly. We are very focused on hospitality right now, and we love the idea of working with holistic environments, like hotels.
AB: Can you talk us through your submission (with Greg Lynn, 2011) for the redesign of the World Trade Centre? Where did your ideas come from?
RDC: Greg was interested in pursuing and exploring the principle atmospheric attributes of the gothic cathedral. The idea was five discreet towers that intersected in the sky – it was an opportunity to create a social platform in the sky. The design was an updated version of the cathedral as a social gathering space.
AB: What does architecture give you that fashion didn’t? Would you ever return to fashion design?
RDC: I see the design process in fashion as closely related to my design process in architecture. Fashion is about creating mood and atmospherics and I try to do that in my projects. You can apply a material to form in architecture in the same way you can select a fabric in fashion. The difference for me is that when I design an interior I can create a completely immersive environment. It is difficult for the immersion to stay in fashion, and you can make it much more immersive in nature and definition in architecture.
AB: What are your passions/interests outside of your work?
RDC: Everything can be a source of inspiration to my work, so nothing is really divorced from my practice. Art, theater, dance, film, music, and of course fashion, are key interests of mine that inform what I do.
from www.thisiscolossal.com; Artist Markus Linnenbrink was recently commissioned to paint the visitors tunnel at the new Justiz Vollzugs Anstalt (Prison) in Düsseldorf, Germany. According to Linnenbrink the prison is a model institution and has been designed to deal with security and humanity as best as possible, thus the desire for a unique approach to a common entrance for family, lawyers and police.
Visitor access has to be underground by law in newly constructed prisons in Germany. This tunnel covers the 40m (about 132 feet) between the security check in the front building and the visitors area in one of the inner prison buildings. Concept for the installation was to create a 3 dimensional painting that follows and surrounds the visitor during the walk through the tunnel. Two sets of diagonal stripes that both grow wider while covering the distance build two different perspectives.
The New York Times holds an archive of pictures …at least ten million frames, they believe.
Some are now being shared here, alone or accompanied by stories/ histories :
http://livelymorgue.tumblr.com/
