Word of Mouth: Berlin

The owner of a nouveau salon shares her top spots to visit
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A combination art gallery and hair salon, L’atelier Friseur is the brainchild of French hairstylist Julie Monin, who moved to Berlin five years ago from London. Three years ago, noticing a lack of distinct stylists in Berlin, Monin chose to open up a salon of her own in Kreuzberg, a neighborhood formerly overrun by cheap chop shops but she describes now as “really special.” “People here may not have a lot of money, but they come here because they feel free,” she adds.

Every three months Monin invites an artist to take over the salon’s interior walls and paint or decorate it however they want, which is marked by a party with performances by some of Berlin’s best electronic artists. As an international stylist fully immersed in the local arts scene, we had to ask Monin for her top city picks. Next time you’re in Berlin, here’s what she says not to miss.

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Buscaglione

Nea and Steffen run this coffee shop and café in Mitte. Try the great sandwiches made by Steffen, who takes care of all the food and always uses top notch ingredients. Nea, who’s Brazilian, gives off a contagious energy and good mood that’s just what you need in the morning to get your day started.

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OlioBiscotti

You’d never find this little bakery unless you were looking for it. Owners Claudio and Cora brew some of the best coffee in Kreuzberg. Have lunch or an early dinner and try their excellent paninis and italian charcuteries, pasta, salsa and wine. They can also do kitchen courses for groups.

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Motto Berlin

I get all the books for the salon from Alexis, a French guy who owns this well curated arts book and magazine store just across the street from L’atelier Friseur.

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Archive Kabinett

A strange and lovely artsy bookstore that hosts events and exhibitions and gives a student discount. They are both a book seller and publisher of artists’ books, monographs and three magazines, Archive Journal, The Exhibitionist, and No Order, Art in a Post-Fordist Society.

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HBC

Stephan, who also runs the Weltempfänger Café, is the owner of this all-in-one Alexanderplatz destination. When I don’t know what to do or where to go, I go to HBC because I’m sure to find friends, good food, interesting, crazy music or exhibitions. There’s always something happening for all tastes.

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Vai Mo

Run by a small Italian family, this is Italian food like your grandmother makes it—if you have an Italian grandmother, that is. If you don’t, come to Vai Mo for la cucina della mama, an authentic meal like you don’t see in many other restaurants.

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Saveur Champagne

Saveur Champagne is my absolute favorite! The owner not only offers a great selection of wines, but he sells cheese and charcuterie, too. Come on Saturday or Sunday for the shops’ weekend food market where you can pick up a wider selection of delicacies to snack on while you sip your wine.

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A Loja

A fun concept shop in the heart of Kreuzberg, A Loja fuses fashion, art and design. This is a great place to pick up something unique from a young new designer your friends back home will have never heard of.

Galleries

When you go gallery hopping be sure to check out Appel Design, the best design gallery in the city. Then head to L’atelier Kunst Spiel Raum for conceptual art and work in progress. Galerie Thomas Fischer is a small, smart gallery with great shows and an ideal location.


Echoes Of Voices In High Towers

British artist Robert Montgomery lights up Berlin with his haunting statement pieces
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If designer James Victore is right and advertisers do think you’re stupid, artist Robert Montgomery shows where they’re missing out. His poetic text-based works—which he typically plasters across existing billboards—are hardly dumbed down or subliminal. Instead, Montgomery challenges the general public with eloquent statements on relevant topics spanning world politics to modern hipster aesthetic. This summer Montgomery is taking over Berlin with a new range of works at the unused Tempelhof Airport and beyond, in a citywide exhibition dubbed “Echoes Of Voices In High Towers.”

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Working in what he calls “melancholic post-situationist tradition,” Montgomery creates his own black-and-white signs that tap into the collective conscious and shake it up with extensive thought-provoking assertions, which include sound bites like “Here comes the cabriolet edition of capitalism and the end of an empire you were too conceited to even protect.” His prose-like style feels like a Missed Connections ad addressed to the world passing by, reminding us of our potential while letting us know of opportunities lost.

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Montgomery seemingly has a small fascination with light and the effect it can have on a person. Several of his works make mention of this in a series dubbed “Recycled Sunlight Pieces.” Still as potent as his socio-political works, these lyrical pieces—done in both billboard style and as neon installations—speak to the universal truth that we’re all human and no matter our religious beliefs or other differences, everyone has dreams, everybody hurts sometimes and essentially we’re all in this together.

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Curated by Neue Berliner Räume, Montgomery’s first solo exhibition in Germany currently includes ten billboard poems around Berlin, five at the Tempelhof Airport (including two neon Light Poems) and more to come this September. “Echoes Of Voices In High Towers” runs through October 2012.

See more images in the slideshow below.


Cy Twombly & The School of Fontainebleau

An unlikely exhibition pits the New York School rebel against Renaissance Masters
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It’s hard to imagine that Cy Twombly, with his canvases composed of angry scratch marks and messy swathes of paint, would have been influenced by 16th-century French painting. But the Hamburger Bahnhof, Berlin’s leading modern art museum, proposes just that in its exhibition “Cy Twombly & The School of Fontainebleau“. The School of Fontainebleau was a Mannerist decorative style led, oddly enough, by two Italian artists Rosso Fiorentino (1494-1540) and Francesco Primaticcio (1504-1570), who were commissioned to decorate the Palace of Fontainebleau, built on the edge of a forest 45 miles from Paris for the king’s hunting retreats.

Fiorentino and Primaticcio oversaw everything from the paintings and frescos to tapestries and sculptures, and even used “graphic media to disseminate their programmatic style,” making them not only some of the most renowned artists of the period, but the most media-savvy as well.

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Flash forward two and half centuries to Twombly and the New York School of painters. After Twombly left New York and the studio he shared with Robert Rauschenberg (whose works are shown in the same gallery at the Hamburger Bahnhof Museum, along with other prominent figures from the New York School), Twombly moved to Italy where he engaged with European art history in a way he never had before. He was especially moved by Nicolas Poussin (1594-1665), whose style was heavily influenced by Fiorentino and Primaticcio’s graphics. Even though his admiration for the Classical Baroque style seems unlikely, in 2008 Twombly admitted, “I would have liked to have been Poussin, if I’d had a choice, in another time.”

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Like Poussin, Twombly often explored myths in his work. “Leda and the Swan” is, of course, about how Zeus transformed himself into a swan in order to come down to earth and rape the mortal Leda, and his “Apollo and The Artist” series is comprised of eight drawings of inscriptions of the word “Virgil”. More specifically, Twombly’s “Empire of Flora” is a direct reference to Poussin’s painting of the same name and explores similar themes of metamorphosis “set in a heroic landscape as an amorous allegory of desire.”

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When viewed side by side, you can see elements of Twombly’s pencil work in Poussin’s sketches and studies for larger oil paintings like “The Conversion of St. Paul”. Though it’s not uncommon for modern art museums like the Hamburger Bahnhof to have amassed a collection of modern painters like Twombly, Rauschenberg, Jasper Johns, Roy Lichtenstein and Andy Warhol, it is uncommon to see their work curated in direct relation to centuries-old painting, and by making unique connections curators Eugen Blume and Matilda Felix manage to keep works in heavy rotation as fresh and exciting as they were when Twombly’s controversial scratch marks first shook up the art world.

“Cy Twombly & The School of Fontainebleau” runs through October 2012. Find image credits after the jump.

Hamburger Bahnhof

Invalidenstraße 50-51

10557 Berlin, Germany

Image credits:

Empire of Flora: “Empire of Flora” (1961), by Twombly

School of Fontainebleau: “School of Fontainebleau” (1960), by Twombly

Poussin: a study for “The Conversion of St. Paul” (1657) by Nicolas Poussin

Thyrsis: “Thyrsis” (1977), by Twombly


Pauly Saal

The new German restaurant sets an elegant table in a former Jewish girls’ school in Berlin
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You can’t spit in Berlin without landing on something of historic interest, and the site of Pauly Saal—the new restaurant opened by the team behind the well known Grill Royal—is no different. The former Jüdische Mädchenschule, or Jewish girls’ school, was built in Mitte in 1928 and was taken over by the Nazis as early as 1930.

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The courtyard, a charming brick patio where you can eat lunch in the afternoon or sip a cocktail at night, was used for deportations until 1941, after which the school passed through a series of owners, eventually standing vacant for decades until the fourth Berlin Biennale used it in 2006 and, most recently, restauranteurs Stephan Landwehr and Boris Radczun remodeled it for their latest culinary venture, Pauly Saal.

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You can’t get to the dining room without walking through the Pauly Bar, which might as well be the set of a 1930s gentlemen’s club with its dark green walls, buttery brown leather chairs and Persian rugs. The dining room, too, is a throwback to a more refined time. Murano chandeliers light the lush green cushioned seats and white tablecloths in golden tones. Against walls covered with locally made ceramic tiles, a life-size, red and white rocket spans the entire width of the room. It’s mounted over windows that separate the dining room from the kitchen, where executive chef Siegfried Danler calmly prepares traditional Weimar cuisine completely from scratch.

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Your meal starts with a basket of deliciously chewy graubrot, literally grey bread. Somewhere between a weiss (white) brot and a schwartz (black) brot, graubrot is made using grains with the hull removed, so it retains the softness of white bread with all the richness and nuttiness of a darker loaf. Served alongside slabs of cold, salty butter, it’s a good sign of things to come. Danler cooks with as much from the restaurant’s small garden as he can, and he gets a good hunk of the meat he serves from his father. Given the amount of pork, beef and veal on the menu, Danler’s dad must keep busy. Since its opening in February 2012, Paul Saal has offered suckling pig, braised veal, offal and their signature dish, veal heart. Big parties can even order a large cut of meat and have it sliced by their waiter and served up table side.

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When we went for lunch the tasting menu (a starter, main and dessert all for the affordable price of €32) featured asparagus salad (the big white kind was in peak season), haunch of roe buck with mushroom pasta and marinated fennel and strawberry sponge cake with yogurt cream and an elderflower jelly for dessert. We opted for a few staples from the regular menu and started with crayfish consommé and a salad with fried asparagus and marinated roast of organic pork. A whole crayfish, cut lengthwise, bathed in the thin, savory broth, and though the pork was a little on the greasy side, the perfectly roasted paper thin slices melted on your tongue.

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We followed that with the crispy-skinned, sinfully buttery perch entree and the bell pepper and lemon-glazed veal shoulder with potato dumplings and spinach.

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Here we need to pause and pay homage to the rich, slow roasted hunk of veal so juicy and tender we didn’t even need a knife to cut it. The paprika-spiced sauce made its way down the plate to four perfectly tender, just-made gnocchi.

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We finished with the strawberry dessert on our waiter’s recommendation. The small square of layered sponge cake and strawberry yogurt cream made for a light finish to a truly indulgent lunch.

Reservations for the two-hour dinner service are highly recommended. Pauly Saal is open at noon daily.


McBess

Illustrations, music videos, Berlin Wall murals and more from London’s quirky Frenchman

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French illustrator, film director and creative polymath Mathieu Bessudo, or McBess as he is more widely known, is a London-based artist with an eye for incredible detail and a mind for a surreal rearrangement of the most simplistic of subject matters.

McBess’ illustrations are inspired by the drama of everyday life, by relationships, food and musical instruments that are re-modeled and contorted to create a microcosm in monochrome while simultaneously appearing to be something ripped right out of a nightmarish 1930s Fleischer Cartoon. The latest of these irreverent incarnations can be seen in his new collection for Berlin’s Dudes Factory shop, which includes a T-bone shaped chopping block, a gramophone, a beerstein (hand-thrown and fired in Bavaria), prints, plates and more.

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In 2011 McBess was asked by Dudes Factory to venture beyond his everyday subject matter and to apply himself to a project more serious than steaks and electric guitars. 
Based at Berlin’s Freedom Park, he worked on a segment of the infamous Berlin wall in commemoration of the 50th year since its construction.

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McBess approached the project with a degree of subtlety, claiming that he wanted his design to be “as low key possible”. The result of his efforts is stunning—his faint references to the Berlin bear, check-points and the separation of East and West Berliners is made clear without being too obvious, and it boasts copious details but isn’t weighed down by traditional motifs and symbolism.

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In addition to his illustration work, McBess is a director at the Soho-based film company The Mill, an ultra-creative arm of the VFX Company. McBess’ show-reel displays the same rigorous attention to detail and fluidity that is so evident in his illustrations, and it is when brought to life by film that Bessudo’s work is perhaps at its most commanding. Various film projects include music videos for his rock band The Dead Pirates and “Dark Arts“, his title sequence work for the 2012 Ciclope International Advertising Crafts Festival.

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Unsurprisingly, the Frenchman markets himself as “expensive” and fairly states, “You either deal with how I work, or I just don’t do a good project.” Download The Dead Pirates new EP FAT online for £3 and pick up McBess prints and merchandise from his shop.


Calvin Harris – Let’s Go

La réalisateur Vincent Haycock a dirigé le dernier clip de Calvin Harris pour illustrer le morceau Let’s Go. Tournée à travers le monde, cette vidéo raconte la communion entre divers couples autour de la musique et de la danse dans des villes comme Los Angeles, Berlin ou encore Tokyo. A découvrir dans la suite.

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Urban Farming

Approaches to sustainable agriculture in several of the world’s largest cities

More than half the world’s population now lives in cities, but when it comes to feeding them, trucking in the necessary amount of food isn’t a sustainable process for any metropolis. Growing out of the need for better solutions, urban farming is becoming an increasingly common approach, whether resourceful groups and individuals are planting vegetables in a container on their back porch or are harvesting land as part of the burgeoning agricultural community.

With Earth Day around the corner, we decided to check in with seven farms in cities from Hong Kong to Cairo to learn more about their methods, and their outlook on the future of the industry.

Brooklyn

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“There have been backyard and rooftop farms here forever, but the current community of farmers, beekeepers, composters, etc., is driving an agricultural renaissance which could significantly change the way this city produces and consumes much of its produce. While urban farms will never replace their rural counterparts, they can contribute to the health of the local ecosystem and mitigate the intensive resource use of growing urban populations.”

The Brooklyn Grange Apiary Project will soon open with 30 hives, led by beekeepers Chase Emmons, director of special projects for the expanding Brooklyn Grange empire and Tim O’Neal of Borough Bees. Emmons and O’Neal will have a team of 12 apprentices working under a pay-it-forward program, wherein they’ll each take on an apprentice of their own to train the following season. Located at the Brooklyn Navy Yard, the forthcoming commercial apiary marks an expansion of the Grange’s four existing hives used to pollinate their acre of crops at the flagship farm in Long Island City. According to communications manager Anastasia Plakias, “bees can exponentially increase crop yield and quality, and the honey we harvested was a delicious added benefit.”

So delicious were the results that the Apiary was born, which aims to meet the demand for local honey and, says Plakias, “provide the city’s beekeepers with a local source of bees more acclimated to New York’s environment.” The challenges of loading hives in close city quarters increases the risk for their handlers being stung, but their hard work pays off for the rest of us—urban honey is known to pack a distinctly tasty flavor. Look out for the sweet stuff at their two weekly farmstands, Smorgasburg on Saturdays and in the Brooklyn Grange building lobby on Wednesday afternoons from 16 May.

Montreal

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“Cities could be self-sufficient in their food production if enough rooftops were utilized. At the very least, the average consumer is far too distant from their food sources, and the link between grower and consumer must be made closer and unshuttered. Consumers should know who their farmer is, how their food is grown, and have every assurance in the traceability and safety of the food they eat.”

Lufa Farms is based around a strong desire to provide local produce to the urban community of Montreal, founded by Mohamed Hage after he discovered the difficulty of finding fresh fruits and vegetables in a large metropolis. As a solution he built a 31,000-square-foot prototype farm on the roof of an office building where all produce is grown organically and chemical-free, and will be the first of many if Hage gets his way. Lufa currently grows tomatoes, cucumbers, eggplants and 22 other varieties of vegetables, including new additions like white pickling cucumber and kohlrabi, but the selection changes regularly.

Beyond the physical location Lufa offers a unique distribution program. Similar to Community Supported Agriculture programs that bring food from farmers outside an urban center, Lufa grows its food on an urban farm and then directly distributes its produce to recipients at drop-off locations in the city. This leads to a situation where, the company promises, “everything for customer baskets is harvested the same day as it’s delivered and is delivered directly to consumers at drop-off points,” for a system that truly embodies the most direct farm-to-table system possible in an urban space.

Manhattan

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“We’re very conscious of the materials we use, so aside from hand cultivators, shovels, gloves and hoses, we try to build what we can from recycled materials.”

Riverpark Farm grows out of Alexandria Center in New York City, utilizing all 15,000 square feet of their available space to accommodate a year-round growing season. Riverpark Restaurant serves up the farm’s bounty under the vision of chef Sisha Ortúzar, and chefs commune with farmers to get a huge variety of seasonal ingredients from soil to plate. While still a fledgling effort, the union has produced a cornucopia of foodstuffs from shishito peppers and watermelon to pickling cucumber and tri-star strawberries. Challenged with space and a fickle clime, Riverpark uses space-saving techniques such as intercropping and advanced seeding to increase yield.

Noting that the team is mostly composed of urbanites, Riverpark is nevertheless ready to employ the materials at hand. “We compost using our clean food scraps from the kitchen along with egg shells, oyster shells and coffee grounds, using both traditional hot and vermi-composting systems.”

Milwaukee

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“We encourage more and more people to not only support businesses that are using good, locally grown produce but to also grow their own. We are supportive of all the other endeavors in our region and have shared our expertise and experience and hope to see urban farming displace the need for giant agri-business and food importation.”

Sweet Water Organics started with the humble lettuce sprout. The exponentially growing outfit now farms four acres that sprawl over an old crane factory and adjacent land in the Bay View neighborhood of Milwaukee. While very much focused on greens (they produce 15,000 pounds per year), the farm also grows mushrooms and other produce in the summer months. The fruits of their labor is peddled off to co-ops, restaurants, groceries and sold at the local farmers’ market.

“Our main systems are aquaponic raft set-ups,” explains Todd Leech. “We also used raised beds, and coir medium sprout planting.” Sweet Water is dedicated to staying “as native as possible with all plants,” TK says, providing local consumers with crops outside of the standard fare. The farm also produces fish, a native species of perch acting as star of the operation.

Berlin

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“We are still amateurs on an adventure to find out what we can manage to do on our own. This urban garden is for us a form of living in the city, it is not just about nature and the countryside, it is also about places with a high density of exchange, different cultures and  forms of knowledge.”

Prinzessinnengärten is a 6,000-square-meter farm in the middle of Berlin focused on the aspect of biodiversity. “We have a lot of old and rare varieties, for example, 16 varieties of potatoes that you will not find on the market any more,” co-founder Marco Clausen tells us. “This we do also to make people aware of the problems of global industrialized farming, of monopolies of seed distribution and the rapid decline of diversity.” Plants grow in industrial vessels like recycled crates and rice bags, in a vertical garden or potentially soon, an aquaponic system.

For Clausen and the 20-person Prinzessinnengärten team, urban farming isn’t so much a solution for the demand for food, it’s more of a place for social learning. They feel the farm “functions as a catalyst of cultural change”, and by showing practical alternatives, they can “make people living in the city aware of the food production system they depend on.”

Cairo

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“Urban farms create green spaces that are scarce in cities, hence contributing to the oxygen production in the micro climate. Additionally plants grown on rooftops absorb a large amount of heat that would otherwise be absorbed by gray rooftops and black asphalt roads which is transmitted as radiation back into the environment increasing the temperature in the city.”

Schaduf is comprised of seven small, vegetable-focused rooftop farms in Cairo, run collectively by brothers Sherif and Tarek Hosny. Using hydroponic and aquaponic systems, their five-person team grows leafy greens—they’ve produced about 2,000 heads of lettuce in the past year—strawberries, red cabbage, local peppermint and a foreign variety of chicory endives, among other crops. While they do sell at local farmers markets, their greater goal is to move low-income individuals out of poverty by providing them the opportunity to own a profitable rooftop farm. Each is roughly 6×6 meters square, the micro farms allow them to detect problems more easily, and more carefully manage the irrigation systems. “It’s crucial that we do not have any water leakages to the rooftop,” Sherif explains.

Concerned with Egypt’s rapidly increasing water shortage, they use a no-soil system that consumes less water than traditional agriculture methods. They are also developing another system “based on permaculture techniques and philosophies”, says Sherif, that they will share with families already growing livestock on rooftops—a popular method in Cairo. Sherif affirms, “We want to try to integrate that existing practice with growing healthy vegetables.”

Hong Kong

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A stable city must be sustainable in every sense. It is extremely important that developed cities still produce their own food and support local agriculture. Imported foods is an unstable system that depends on a lot of external factors beyond an everyday person’s control.”

HK Farm is a flourishing new community-driven urban farming collective founded in March 2012 by former Brooklyn Grange farmer Michael Leung and a team of aspiring farmers, artists and designers. Focusing on rooftop farming and the important benefits of locally grown food, HK Farms is in the process of expanding the presence of urban farms in Hong Kong. Currently operated by a team of three, their 4,000-square-foot farm is getting off the ground growing a variety of herbs, with plans to expand with new vegetables to the lineup.

With a strong focus on DIY projects, all the growing containers were designed and built by the staff and ecologically conscious elements are being installed from the start, including a rainwater collection system. But as with any labor of love it is a long and extensive process according to the founders, “It was extremely hard work to accomplish the initial building of the farm, whilst balancing our own personal work and projects, and normal lives….We don’t consider ourselves farmers (yet).”

See more images of the farms in the gallery below.


Mark Soo

Fusing photograms and cell phone snaps in an exhibition exploring the evolution of photography
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In his current exhibition, “Neither Camera Nor Companion” at Blanket Gallery in Vancouver, Berlin-based artist Mark Soo has created a series of photographs which thoughtfully and cleverly take the viewer on a journey through photographic history. By drawing on his fascination with how culture and technology have continuously influenced photography, Soo manages to combine magnified digital noise, darkroom processing, and crisp photogram silhouettes with striking results.

Your recent photos are so visually complex it’s challenging to understand what’s going on. Can you explain how they’re made?

Very broadly, my work often begins by looking at the relationship between culture, technology and the ways they have influenced each other. So this series of works, originally titled “Madame Guillotine“, started with wanting to find a different way to juxtapose digital and analog photography in a way that blends both, rather than keeps them separate.

What I did was to make a photograph that literally fuses a technique dating from the earliest days of photography, the photogram, with something emblematic of the direction of photography today, which are digital photos taken with a cellphone. In the end, all these things ended up coming together in a traditional analog darkroom.

I started by taking a bunch of digital images of prints of the French Revolution with my low-res cellphone, and transferred them to a negative. I then took the negatives into the darkroom and printed them as traditional color photographs. In the printing process, I placed various objects on the photographic paper in order to produce a photogram on top of the printed image. In some sense you could say these works function as a condensed history of photographic technique. Partly what I liked was how the detailed organic shapes of the photograms contrasted with the grid of digital pixels in a way that I hadn’t experienced before.

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You used images of the French Revolution as the foundation for these pictures. Why was that your starting point?

I traveled to France a few times over the last year and while there, I got interested in the guillotine and its history—gruesome stuff for sure, but definitely fascinating. I ended up taking photos with my phone of anything related to the guillotine, without thinking much about what exactly I was doing. So they were snaps of images in books mostly—pictures of pictures. Anyhow, I started to think about the guillotine blade, and how it resembled the shutter of a camera; this got me thinking about photography in relation to the French Revolution.

Then I started to see parallels between what was occurring on a political level during the French Revolution, with this tremendous shift in photography happening today—the digital revolution: in both instances people are moving from the perceived traditions and hierarchies of the old world toward something they feel is more democratic. As traditional photolabs are closing, places like Flickr and Instagram, or Google Images, are becoming more indispensable to how we consider image-making in general. I thought it was particularly interesting, on an abstract level at least, to draw comparisons between these two points in history.

Neither Camera Nor Companion” is showing at Vancouver’s Blanket Gallery through 21 April 2012.


Spider Tag

Découverte du travail de Spider Tag, un street-artist qui aime utiliser des fils pour créer des oeuvres en les tendant sur des murs. Très intéressant, ces réalisations visuelles sont à découvrir dans la suite de l’article avec une série d’images et une vidéo.



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Rachel de Joode

The magic-surreal, inflatable neo-dada work of a still life sculptor

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Rachel de Joode is a Berlin-based sculptor who specializes in still lifes made from materials like a stack of Kraft singles, an oozing banana, a wooden club piercing a pile of white bread, wigs, people and a giant inflatable chicken foot. Her most recent work “Life is Very Long” is a part sculpture, part performance piece composed of tennis gravel, styrofoam and 60 frozen Dr. Oetker pizzas. She draws inspiration from history, philosophy, space travel and obscure scientific facts, which may help to explain why she classified the sculpture “A Peanut, Half a Horse, a Chicken Foot, a Burning Cigarette and a Black Hole” as “magic-surreal inflatable neo-dada”. If that doesn’t clear things up, perhaps this explanation will shed some light:

“The elements displayed have individually symbolic meanings: the peanut metaphors evolution, primates and a mental condition, half a wild horse is a metaphor for amputation, restrainment and magic shows (box sawing trick). The burning cigarette is a metaphor for fire (the element), smoke (blurred vision) and the dawning of the end, the chicken foot is a voodoo charm which is symbolically used for the “scratching” of the vision of the future. The black disk is representing a black hole which is a symbol for the mighty unknown. Together these ingredients form an inflatable perspective of the future human condition, revealing the dawning of the end of the post-modern world.”

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She continues her exploration of art, science, culture and nature as the photo editor and art director of META Magazine, which “traces the uncommon threads between common topics, presenting its readers with views into the abyss of visual information and with experiments in associative reading,” de Joode explains. “We have contributors such as Olaf Breuning, Tao Lin, Cai Guo-Qiang, Pieter Hugo, Jan Kempenaers and Alan Shapiro among other scientists, historians, artists, activists, occultists and theorists.”

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She’s also the co-founder of De Joode & Kamutzki, a new auction house that aims to increase the accessibility of contemporary art. “We don’t see art as a luxury good that one might consider purchasing when they already have everything else that money can buy,” de Joode says. “Our mission is to inspire you to invest in great artwork not for the sake of its resale value, the status symbol attached to it or as a way to spend surplus money. We want people to buy art out of love, fascination and admiration. Because art is essential.”

Her work will be featured in two exhibitions in April: “tropico post – apocalyptic” at extra extra in Philadelphia and “Bad Girls of 2012” at Interstate Projects in NYC. Meanwhile, she’s working on a short film with dancers Jared Gradinger and Angela Schubot before she leaves for a two-month residency at Sculpture Space in Utica, all while Panama-based gallery Diablo Rosso prints an edition of her work for Zona Maco, the contemporary art fair in Mexcio City. I was lucky to catch up with her this week for a quick chat.

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You studied time-based arts at the Gerrit Rietveld Academie. What does that mean? What are time-based arts?

It means art which is somehow related or dependent on time—like film, web-based art or performance. Nevertheless, this department is a kind of free art meets conceptual art department. You could basically use every type of media you wanted, the focus was more on your idea, on your concept.

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How do you select the materials for your sculptures? Is it an intuitive process or is there a lot of trial and error?

I choose objects which I find iconographic for the current human condition, objects which relate to the everyday, like pizzas, or computers, or coffee mugs, or remote controls. These objects are just “there” somehow. I am not constantly on the lookout. It’s more about opening your eyes. Like when I think of using a telephone in one of my works, all of a sudden I notice all these great telephones everywhere. In the end it’s either/or. Sometimes I have an image in my head and then I need to find a certain object. Sometimes the object comes to me and I get inspired to do something with it.

When I start to assemble an installation or still life I think a lot about the texture and the colors. Colors really work on the emotions and so you can do a lot with this. Mostly I color-code the objects or arrange them tone-on-tone. Setting up a still-life is like making a sculptural collage. It’s cutting and pasting, somehow it’s the same as photoshopping.

I have a table with objects (ingredients) lined up and then I just try to put them together until it works. I never use all the objects that I picked out in front. Then the hardest part is having things sit and stand together. Things always fall over. I scream and condemn the objects. Gravity is my worst enemy when I make an installation!

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For “A Peanut, Half a Horse, a Chicken Foot, a Burning Cigarette and a Black Hole,” how did you fabricate the inflatables? Why use inflatable objects as opposed to another sculptural form?

In 2010, I was invited by the Oslo-based artists Sverre Strandberg and Anna Daniell to make an inflatable piece. They organized and curated the show “Giant Ball”, an exhibition of inflatable art pieces held in Oslo’s football stadium.

It was very natural to design this still-life. The piece was produced in Korea. The concept, design and the high-res images I delivered for the print on the inflatable material are mine. The curation and production are Sverre Strandberg and Anna Daniell.

The cool thing about it is that I could make something like “Half a Horse” which would be very hard to make in reality! The sculpture definitely turned out great and it is so small to carry around, which is a big bonus! I just need to built the structure which it stands on.

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You’ve said work addresses “the nature of humanity and questions who we are and why we’re here.” Has your work led you closer to answering these questions? What have you discovered about our humanity through your work?

Actually, I think I will never find out. It’s so ridiculous! It is really so ridiculous that we are alive. It confuses me a lot. I guess we need to simply do some funny and nice things, things we want to do and do them right enough to also be able to enjoy them. People are very strange, what they do, how they live, what they want from life. The only realization I made is that we are all very similar. All humans want things, they desire things.

All images courtesy of Rachel de Joode.