Story Magazine

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HACKNEY WICK ARTIST COMMUNITY | DAVID STRAIGHT THE END OF LONDON | THE CHAIR RHIANNON ADAM | 24 HOUR PROJECT DISPOSABLES GONE GLOBAL

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SPRING 2011

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• the quarterly publication bringing you libraries of art, culture and inspiration, all connected by a common thread.

Sto·ry (magazine) n. pl. sto·ries

The seed has been sewn for creative exploration. As you read through Story, you will find that a common thread connects many of the features. This is the beginning of the Story evolution and as we progress the content in each issue will become increasingly hinged on the narrative thread of story genre.

Our aim is to create opportunities for exposure for artists and the changing projects and galleries will reflect this, starting from the first issue.

Budding and already established artists will be given a regular opportunity to showcase their talent in our themed galleries, demonstrating the diversity and aptitude of today’s creatives.

Then there are the Story projects. For each new issue a set of different contributors and selected artists will be given a customised assignment and the results will form this section of our magazine.

Splattered throughout the Story canvas you will find our industry features, artist spotlights and interviews. These are our regulars, a virtual platter of inspiration to appear on our pages on a quarterly basis.

Moving forward, Story will progress structurally and thematically, inspired by story genre and narrative. Our readers first and foremost will enjoy Story as a multifaceted gallery, growing to encompass the freshest talent.

Please enjoy our Story from the very beginning and watch it unfold from one issue to the next.

EDITOR - Richard Doran

www.storymagazine.co.uk4 Story

FeaturesTHE CHAIR | RHIANNON ADAM | 8

Sophie Allen talks to Rhiannon

Adam about preservation

of Polaroid film, a format

increasingly challenged by digital

technology.

+1 | DAVID STRAIGHT THE END OF

LONDON, FEATURING CONNAN

HOSFORD | 52

VIP guest photographer David

Straight has chosen Connan

Hosford as his +1 guest.

INDUSTRY FEATURE | HACKNEY WICK | 22

Story takes a look at Hackney

Wick, a fast growing artist

community, affected by the 2012

London Olympic Legacy.

Projects24-HOUR | DISPOSABLES GONE

GLOBAL | 15

This issue we have given disposable

cameras to 6 artists around the

world to give us an insight into a

day of their creative lives.

GALLERY | MANIPULATE | 36

Contributors have been given the

theme of Manipulate to challenge

the different means of exploring

and altering a subject, medium or

concept in their chosen fields.

ReviewsART | AMOS GITAI’S TRACES AT

THE PALAIS DE TOKYO | 33

- review by Eleanor Ivory Weber

GIG | BEAT LIVES: NORTH

PORTLAND SPEAKEASY | 64

– review by Alieta Joyce Herrera-Train

FashionSHOOT | LAY ME DOWN | 68

Fashion shoot by Holly Falconer.

VISUAL NARRATIVE | EAST SIDE

STORY | 76

Visual story

by Rhiannon

Adam.

This is NoT a

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| cou

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Make art. Print!

Your favourite shots deserve to be printed, framed, and appreciated on more than just your screen

Images by (left to right) www.keithlathrop.com, www.johnpaulpietrus.com, www.johnandersonphotography.co.uk

www.theprintspace.co.uk · [email protected] · 02077391060

Printspace_JM.pdf 18/3/11 18:28:05


ContributorsWriters

Eleanor Weber, Alieta Herrera-Train

ArtistsKim Anh, Sam Crawford, Stephanie Lai, Sarah Larnach, Maria

Falbo, Annu Kilpelainen, Jenna Selby, Dave Smith, Sandra Le,

Jeff Knowles, Jose MMG, Richard Doran

PhotogrAPhersRhiannon Adam, Holly Falconer, David Straight, Sophie Allen,

Richard Doran and Alieta Herrera-Train

illustrAtorDave Smith

Thanks toPremier Model Management, M and P Models, RushT,

Connan Hosford, Aoife Kitt, Julie Michael, Becky Smith,

Joanna Hughes, Pip Brown, Sarah Larnach, Adrian Navarro,

Christopher Raeburn, Sebastian Sussmann, Michael A. Nagle,

Ehryn Torrell, Clare Andrews, Sam Scott-Hunter, Robert

Cary-Williams, Samira Said, Rukshana Begum, A. de Poray-

Szymanska, Nikki Toole, Sandra Le, Rose, Staten Cousins-Roe,

Rosie Middleton

Special thanks to Joanna Pulford, Madelyn Eads-Dorsey, Jen Scobie, Anna

Szymanska, Phil Allen, Marie Doran, Stav B

StoryA R T | C U L T U R E | I N S P I R A T I O N

Editor-in-chiefRichard Doran

Assistant EditorsKasia Figiel

Josie Steenhart

Production ManagerSophie Allen

Art EditorJustine Middleton

Web DesignerShaun McHugh

Advertising and MarketingSophie Allen

Advertising enquiries: [email protected] | editoriAl: [email protected] |

Production: [email protected] | design/Art: [email protected] |

generAl enquiries: [email protected] |

All submissions are property of Story Magazine UK. The entire content is a copyright of Story Magazine UK and cannot be reproduced in whole or in part without written authorisation of the publishers. For more information go to www.storymagazine.co.uk

anzeige_story_uk_19x27cmyk300dpi_outline2c_outline2.indd 1 3/18/11 7:31:58 PM


Rhiannon adams | CHAIR

sPRinG | 2011 9Story

RhiannonR

hiannon Adam is a London based artist specialising in instant photography, mainly Polaroids. With Polaroid film

becoming increasingly harder to obtain, the CHAIR decided it was a good time to chat to Rhiannon about and her work and involvement in the Impossible Project - a company producing new film for Polaroid cameras.

WELCOME TO THE CHAIR. WHAT IS IT LIKE TO BE TESTING NEW POLAROID FILM? It’s strange. I spent years learning about different types of Polaroid film and now I feel like I am starting from scratch. The only thing this new film has in common with the old one is the type of cameras it fits and the fact it is instant. It’s a whole new beast. I see it as an adventure... Sometimes a very frustrating one.

The first pack I used made me question everything I had ever photographed. None of the shots I took looked like my own work. I began to really analyse what it is that I actually take pictures of, and how much influence the film has on my work. I realise now that my work is a collaboration with the film and I choose what I photograph based on a film type I use. It has a huge influence on me. When you start using a new and different film, you face a whole new set of challenges and have to rethink and reassess your approach.

Now I can safely say that the new film may not be Polaroid but I love it – in a new and different way. It’s still a huge learning curve, but I am enjoying it. But I also hope that with the new film, everyone will be distracted, pour money into buying the new stuff and maybe e-bay prices of expired Polaroid will go down!

It will always be my first love.

DO YOU AGREE WITH BRINGING BACK THE POLAROID FILM BY DIFFERENT MANUFACTURERS, OR DO YOU THINK THAT IT SHOULD BE LEFT UNTOUCHED? It’s the only option. The whole Polaroid story is a long and complicated one, but essentially, legally, the film had to be reinvented from scratch so that no existing patents were infringed. The ‘old’ Polaroid, as we know it, does not exist anymore., Because of rather awful management, all of Polaroid’s assets were dissolved. Those assets included film recipes, The Polaroid Collection, a whole load of ingenious staff and film machines.

Polaroid had changed over the years and in its last incarnation it basically existed to license the Polaroid brand to Chinese TV manufacturers. The heart and soul of Edwin Land [Polaroid’s founder] had long since been eroded by a quest for money.

I am glad that a whole bunch of Polaroid fans have taken the bull by the horns and have started to make film again. Maybe it’s not the film I loved, but it is driven by the same passion for instant film. Their heart is in the right place.

I miss the idea of the Polaroid brand though. The idea that you can do anything you set your mind to - the American dream. Polaroid represents to me an age when big corporations still had a soul - they still cared about their output, they took risks, they spent money on dreams. It wasn’t all about the bottom line. Sadly, any attempt to save the film will be determined by finance. It’s the end of an era in many ways.

t h e C H A I R

AdAm

PHOTO & INTERVIEW BY SOPHIE ALLEN


YOU HAVE SAID IN AN INTERVIEW RECENTLY THAT YOU “FEEL THREATENED BY THE DEATH OF THE MEDIUM [YOU] LOVE”. DO YOU REALLY THINK POLAROIDS WILL DIE? IS THAT SOMETHING YOU ARE HELPING TO PREVENT THOUGH YOUR WORK WITH THE IMPOSSIBLE PROJECT?Yes, I do think Polaroids will die. It’s a very hard thing for me to say, and to accept, but it will happen. I don’t know when, and hopefully it won’t be soon, but I do know that producing Polaroid film is a very complicated procedure. Unlike 35mm film, which is actually relatively simple composition-wise, Polaroid film has more than 20 custom elements, and each of them requires a specialist machine to produce. This is why it has always been so expensive.

Polaroid died in 2008 through bankruptcy because people, particularly in the professional markets, started buying digital cameras. The company paired down its operations until only consumer films, like the typical point and shoot Polaroid film, existed. Eventually, most consumers bought cheap digital cameras instead of Polaroid film. Until this year no new film had been produced. There is talk that a new incarnation of the Polaroid brand will come back, re-releasing a camera and film, but it’s yet to be seen.

I loathe Hipstamatic and Poladroid not because I don’t like how they look, but rather because the people that use them are obviously receptive to what analogue photography looks like. They are the potential buyers of Polaroid film, or rather the Impossible Project film, and we need them. Without buyers I won’t have film to shoot. Hipstamatic to me is a bit like the Danish Mohammed cartoons are to Muslims, or like a real cat is to a Tamagotchi: poor imitations.

I detest what these apps represent: an era that I don’t really want to be a part of. An era that killed letter writing, where cinema projectors are going digital, where hand painted signage is giving way to vinyl lettering. Call me a Luddite, but I think it is an era of impatience, short attention spans and

gimmicks. It feels so amorphous. I like real, genuine experience, the smell of chemicals. That physicality is a key part of what I do - I’m all about the stray grain of sand in the corner of a drying print, or a sweaty thumbprint.

The Impossible Project needs buyers and, while I hope to spread the word of instant film’s merits and charms, we won’t get very far if hipsters think they can achieve the same effect through a computer algorithm programmed into the Hipstamatic app.

THE HIPSTAMATIC APP HAS BASICALLY GONE AND MADE PHOTOGRAPHY ACCESSIBLE TO EVERYONE, NOT JUST THOSE WHO INVESTED TIME AND MONEY TO BUY, TEST AND DEVELOP FILM. DOES THIS AFFECT YOUR WORK IN ANY WAY? DO YOU USE THE APP YOURSELF?

I would never use the app. I don’t use digital except to objectively record something, like a factual picture in an eBay listing... I’d feel like a hypocrite if I used it.

The funny thing is that I am sure your Dad shot family photos on 35mm, and maybe he even owned an SLR. My Gran takes pictures using a film camera, and yet she can’t use her own answering machine. I don’t see analogue photography as being exclusive. It’s as cheap or as expensive as you make it. It costs more to buy an iPhone that shoots low quality images than a beautiful Leica, or a fantastic Hasselblad 500C, or a manual Polaroid 195. All of which have a shelf life beyond that of a two-year iPhone contract term...

Whist the bulk of my work happens before I press the shutter, the focus with digital photography is too often on what you can achieve in post production. I wouldn’t care so much if people were just using Photoshop features like dodge and burn, things you could have done in a darkroom. What I resent is when people palm off effects that could have never been achieved in a darkroom as ‘photography’. That’s not photography anymore, it’s a hybrid between digital illustration and photography.

I wouldn’t even call Hipstamatic photography,

by the death ofI feel threatened

the medium I



the medium I

TOP ROWBurning Crosses, Trinidad, W.i., 2008seclusion and the summer daze, Wales, 2010a pause at the edge of everything, denmark 2010

MIDDLE ROWWe’ve all got baggage to claim, stansted, 2010The transcendence, London, 2010Throwing caution to the wind, Cornwall, 2009

BOTTOM ROWsunday, Wales, 2010don’t go chasing waterfalls, argyle Falls, Tobago, W.i. 2008The distant hum of death, Wales, 2010


Polaroid represents to me an age when big corporations still had

a soul - they still cared about their output, they

took risks, they spent money on dreams

because you don’t control the effects and there is nothing creative it. The effect has been pre-planned by some computer geek somewhere. The picture is half yours, and half theirs. Who is the so-called ‘photographer’?

It’s ironic that I use instant film - and my work is seen as being ‘slow’ and time consuming. It’s the original medium for impatient types! I’m the queen of instant gratification. I would still argue that what I do is more ‘instant’ than what is shot on Hipstamatic. It just depends whether you want your finished product to be a computer file made out of 0s and 1s, or if you want a tangible, textured piece of chemical and light that you can hold or give away, or scan in if you should so desire. I like the romance of the real thing: If I give you that Polaroid it is gone forever.

SAVEPOLAROID.COM WAS A WEBSITE STARTED TO HELP SAVE THE POLAROID. I UNDERSTAND THAT YOU TRIED TO SET UP A EUROPEAN VERSION. WHAT HAPPENED TO THIS PROJECT? I’ve put this project to bed for the time being.

DO YOU THINK THE GENERAL PUBLIC IS INTERESTED IN BUYING POLAROIDS AS ART?Is the general public ever interested in buying art or photography? No, it’s always a niche. However, the response to my work has always been very positive.



I think it reminds people of a bygone era when life was slower, when images still had a meaning, when a picture could be special and have a story. People love Polaroid in the way they love childhood sweets that have long since gone. It reminds them of a time when a picture could be magical...

I don’t sell originals, but I find it amazing how much people would pay for them. Each one of them is one-off though, not even like a silver gelatine Ansel Adams print that exists as part of an edition. I think this is why they are seen as ‘art’ . It is also because of all the famous artists that have used it - the Polaroid laid on Tracey Emin’s bed, David Hockney’s collage works, Peter Beard, Peter Blake, Andy Warhol - the list goes on! You only have to look at the sales figures for the Sotheby’s auction of The Polaroid Collection in NY this year to see how much interest a Polaroid can garner.

Polaroid is becoming more and more interesting as time goes on. It’s having its swan song, its last gasp. My pet hate though is the recent trend of people not being able to tell the difference between Hipstamatic or Poladroid and the real thing - I just hope that the interest continues, but the ignorance ends!

YOU NOT ONLY HAVE YOUR WORK PRINTED IN A FEW BOOKS THAT ARE ALREADY OUT, SUCH AS THE POLAROID POCKET SERIES, BUT YOU ARE ALSO WORKING ON A MORE SUBSTANTIAL PUBLICATION AT THE MOMENT. CAN YOU TELL US MORE ABOUT THIS PROJECT? Well I can’t say too much about any of the projects in the pipeline, but I am working on one which treats Polaroid as an art form in its own right. The idea is to tell the story of Polaroid through the experiences of individuals that use it... There will be a lot of travel and writing involved. It’s exciting!

I am also currently working with a book-designer friend on a book or a series of smaller books. We’re not sure how to go about it yet. We want there to be some direction in the book, a purpose for doing it - a raison d’etre. We don’t want it to be yet another book of Polaroids... All I know so far is that it will be much more experimental than anything I’ve been involved with before.

There are a few little things happening too, some of my work will be shown in a book ‘Polaroid Day II’, published by a Korean company Playground, and in a publication by Doubleplusgood Books too.

It’s all go!

BLOGS ARE DEFINITELY TAKING OVER WHEN IT COMES TO ACCESSING THE LATEST NEWS IN THE ARTS SCENE. WHAT BLOGS ARE YOU ADDICTED TO READING AT THE MOMENT? My friend and ex-colleague Kate Slotover’s blog is a new favourite. She loves books and design and so do I: whatkatyread.typepad.com/whatkatyread

oneyearofbooks.tumblr.comI actually like this too - petiteanglaise.com

unexpected for me, a bit girly, but this woman has been blogging for years and it’s been turned into a book. She can be pretty funny about everyday things.

www.theselby.com -A great Polaroid related blog is moominsean.

blogspot.com. If you ever wanted to know anything technical – this is the place!

And the Creative Review blog www.creativereview.co.uk/cr-blog

When I have the time, I update my own- www.thelonewrestler.com It keeps me entertained when I have an empty 20 minutes, which, admittedly, doesn’t happen very often.

- INTERVIEW BY SOPHIE ALLEN –

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24PROJECTBrief: To shoot a day in your life and

fill out the required form

Tools: 1 disposable camera, 24 shots, 24 hours, 1 paper and 1 pen.

DeaDline: 24 hours.

The first of the story Projects, 24-Hr, brings us into a day in the life of 5 artists from different areas in the world. The little plastic cameras that we sent to each participant was asked to document any single day in their life, and answer some simple questions. The task was the same for each person, yet the responses are refreshingly different. The debut of our story Project celebrates the diversity of creative occupations and the personalities behind them, who you will find throughout the magazine.

24PROJECT

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SARAH LANARCH

LOCATIONKings Cross (Neighbourhood) Sydney, AustraliaOCCUPATIONVisual artistFAVOURITE PASTTIMECooking for and with friends and family + Drinking beer in the sun with the aforementioned companyFAVOURITE PLACEMy mum’s kitchen with a gin and tonic, and mum (NOTE: I hope I am not a domestic lameo princess, despite the previous two answers.) WHAT BOTHERSYOU?Bad mannersWHAT DO YOU TREASURE?The feeling of finishing a painting and that ‘unreachable’ feeling of being on an aeroplane FAVOURITE ARTISTToday it is Richard Avedon. Tomorrow it will be someone else.DEFINING CHARACTERISTICUhh...I will ask 3 friends and see if I can get a majority answer on this. 1.Generous 2.Generous3.PuntasticSo I guess the consensus is that I am very generous with my fantastic puns. WHAT DO YOU ENJOY MOST ABOUT YOUR WORK?I make stuff and sometimes my friends like it!

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SARAH LANARCH

24PROJECT

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LOCATIONLos Angeles, CAOCCUPATIONDJ / Composer / Producer (music)FAVOURITE PASTTIME-Sneaking out of the house when I was 15 to go to raves -Marching topless at San Francisco Gay Pride -Meeting PrinceFAVOURITE PLACEThe south of FranceWHAT BOTHERSYOU?How much social media has actually hurt usWHAT DO YOU TREASURE?Reality sandwiches signed by Allen Ginsberg, given to me by someone I love dearly FAVOURITE ARTISTToo many! Jeff Buckley / Nina Simone / Philip Glass / Radiohead / Joy Division / Bach / Arthur RussellDEFINING CHARACTERISTICI’m quite daring.WHAT DO YOU ENJOY MOST ABOUT YOUR WORK?Creative freedom / creative challenge / travel

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KIM AHN

24PROJECT

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KIM AHN

storymagv3_jm2.pdf 31/3/11 19:02:33


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This is NoT a

A Wi c k ed Fu t ure

Eulogy

Looking towards the Peanut Factory, Dace Road

SPRING | 2011 23Story

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HACKNEY WICK | COMMUNITY

I realised that there was a little more to this gutter of London a few years ago, when a friend invited me to her Hackney Wick warehouse apartment. Sealed off from the rest of London by the Olympic Site and the A102, it was a space where a village

of bedrooms was build out of ‘found’ building scraps with various fabrics lining the walls. It was as if forts we used to build when we were kids had evolved into real-life living spaces, where adults crawl into their bedrooms on all-fours or climb onto their homemade mezzanines.

Adaptation and creativity has developed in a more professional sense since then, although these modern living spaces still exist. Just the other day I visited a warehouse to find someone’s home set up in a very well styled cardboard church. Hackney Wick’s aesthetic is a unique mesh of brick and iron, which was built to serve the industrial innovators of the 1800s. Many of the art spaces are set up in spaces with interesting history, for example the Elevator Gallery in Main Yard is housed in the attic of a Victorian chocolate factory. Some of these have already been noted for their character and are now protected, but many more are about to face a very real threat - Hackney Wick caught the eyes of a multitude of investors, as the legacy of the 2012 Olympics brings huge development possibilities to the area. The painful truth is that, to fulfill the vision of a prettier, safer, more accessible and more profitable Hackney Wick, buildings will be demolished and this a burgeoning creative community may be destroyed.

Some believe the isolated topography and industrial aesthetic of Hackney Wick will not lend itself to be invaded by the media cool of Hoxton and Shoreditch, but with David Cameron’s vision of an East London ‘Tech City’ (Britain’s answer to Silicon Valley) that’s exactly where the area is heading.

Google, Intel and Facebook have all confirmed their involvement in this project, where the ‘creativity and energy of Shoreditch’ is meant to be combined with the investment coming with the Olympic Site to create one of the ‘world’s great technology centres’. These ambitious visions from Cameron’s speech come with a mixed sensitivity towards the current residents but it seems increasingly likely that “ignorance will lead the way, and artists will become displaced” - a concern voiced by Joanna Hughes of the Wick’s Mother Studios. In the end, Hackney Wick is situated within two London Boroughs: Hackney, a possible advocate

for the artists’ voices that has proposed a ‘Creative Hub’ to lead the way for artist spaces and resources, and Tower Hamlets, who still haven’t collected my trash from two weeks ago.

The flaunted visions from the Olympic bodies and contributing companies pave an ominous way for the well-spirited and organic community. Change is coming to East London and only the dexterity of a grizzly bear opening an oyster will be enough to keep the artists from being forced out, as the Shoreditch and Hoxton trustafarians are encouraged in.

For now, the artists and residents of Hackney Wick appear to keep calm and carry on. The economic downturn seems to have hampered some of the previous development plans, including building bridges over the Lea Navigation Canal. This gives locals some extra time to present themselves as

one of the most significant artist communities in Europe, making it harder to be swept away in an era of change.

In a way, though, this creative showcasing has already been happening through the Hackney Wicked Festival. The event was born from a smorgasbord of ideas that were eventually gelled together by the Wick Art Galleries (WAG) in order to create an all-inclusive happening. What started as a backyard idea with no budget or legal backing, has grown mightily over the past three years. In the first year of the festival there were 120 participants, who attracted approximately 5,000 visitors. The numbers have grown significantly since then, with the most recent festival hosting 500 participating artists with a 25,000 strong turnout. It’s not just the open-to-all art spaces that make this event, but also the local residents, who take to the crumbling streets with 40-gallon drum pizza ovens, lemonade stands and market stalls. Many warehouse rooftops

‘…it’s really gone from burnt out cars on a saturday morning to bacon and avocado baguettes, to that point it’s really quite middle class.’

Christopher Raeburn, The Peanut Factory


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host experimental music happenings, while inside the cavernous buildings sound artists take to electrical devices.

During the most recent festival a giant wooden hen was set alight, while bands on the main stage in Queen’s Yard continued to play well into Sunday morning. Art could have been seen inside warrens of studios, holes in walls or spotted along the pavement, but most of it was eventually demolished by wasted youth with a taste for destruction.

Robert Cary-Williams, a fashion designer responsible for a street creation on Roach Road, insists that the destruction and transformation of his work was “the whole point of it”, taking great delight in seeing the obliteration of his piece.

THIS PAGE (from top anticlockwise) Adrian Navarro, Queens Yard | Clare Andrews, Daro Studios | Sebastian Sussmann, Double Negative Darkroom, The Peanut Factory

RIGHT PAGE (from top clockwise) Simon Reuben White, Elevator Gallery | Michael A. Nagle, Mother Studios | Ehryn Torrell, Maryland Studios


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‘...the area is extremely ugly, it’s full of decrepit horrible old businesses, which suits us - it’s the kind of grotty environment where we can afford studios.’

Michael A. Nagle, Mother Studios


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The community interaction isn’t always obvious, when walking through the usually quiet streets of Hackney Wick, but in these large factories there are significant numbers of highly active people creating and working together. In the famous Peanut Factory, in a shared corridor of studios, warehouses and personal dwellings, the fusion of infrastructure and the sense of community are brilliantly showcased.

Christopher Raeburn, an ethical fashion designer who utilises out-of-commission military fabrics, has his garments produced, photographed and printed all within a block of his working studio. “Now that there are a lot of artists here, it’s very inviting.. the place has a lot going for it,” he says.

So, this is not a eulogy for the arts community of Hackney Wick. Many remain positive that the local folk will passionately hold their ground and use their artistic ingenuity to leave a permanent footprint. Events like Hackney Wicked are a good way of showing supporting for the residents. They are also an opportunity to make enough noise to remind the planners about this unique community with a vision, spirit and raw, creative talent that can only thrive in an environment free of contrived, corporate influence.

Sure, it could do with a bit more lighting, better heating, another bar and maybe an art supply store, but Hackney Wick is for independent creatives, and their strength lies in the community spirit, not money.

Viva La Wick!

- RICHARD DORAN -

‘…it was all completely illegal and we had no money at all to do it but we just did it anyway …that was the first year of the hackney wicked.’

Simon Reuben White, Elevator Gallery

right page (top to bottom) Sam Scott-Hunter, The Peanut Factory | Christopher Raeburn, The Peanut Factory


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SAM CRAWFORD

LOCATIONNY, BrooklynOCCUPATIONPhotographerFAVOURITE PASTTIMERoad tripping around the countryside with my buddies FAVOURITE PLACEGreat Barrier Islands NZ for sureWHAT BOTHERSYOU?ArroganceWHAT DO YOU TREASURE?My inspiring family and friendsFAVOURITE ARTISTThere isn’t just one – there are manyDEFINING CHARACTERISTICThere is a lot of space for these answers! Ummm. Definitely the grey curls? WHAT DO YOU ENJOY MOST ABOUT YOUR WORK?Meeting and joining forces with other creative minds and travelling can be lots of fun

24PROJECT

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STEPHANIE LAI

LOCATIONKensington, London for now!OCCUPATIONMakeup artist and a madd citizenFAVOURITE PASTTIMESleeping! Eating! Drinking! Facebooking! Singing in the shower. Buying shoes! Reading Vogue. Travelling, places to go: Greece, Heaven & Hell.FAVOURITE PLACE*Home*Christain Louboutins store, Jazz bars, Sketch, Pubs, Hawaii, PARIS WHAT BOTHERSYOU?Smelly armpits on the tube!Dog poos on the street!Old ladies speeding in their motorized carts! - they’re very dangerous!Bad Hair days!WHAT DO YOU TREASURE?My life! my family! my shoes! my dear friends! Vintage champagne! White orchids! Memories! My legs! iphone 4! (I go to sleep with it in my hand) whatsapp!FAVOURITE ARTISTAlexander McQueen! Tina (Turner), Beyonce and Diana (Ross), “Wheels”Stephlai.comDEFINING CHARACTERISTICPerfectionist! (at work)Lazy cow! (at home)WHAT DO YOU ENJOY MOST ABOUT YOUR WORK? People! Freedom! Being creative! Your life!

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24PROJECT

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STEPHANIE LAI

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ART | REVIEW


Is it possible to be large-scale and universal and at the same time intimate and personal? Amos Gitai’s (b.1950) magnificent installation at the Palais de Tokyo in Paris seems, somehow, to

achieve both. Traces is the name given to the project and it seems an apt title for an installation which works with looping excerpts from several of the Israeli director’s films, as well as sonorous landscapes that interlope within the enormous, resonating and disused space below the Palais de Tokyo’s regular galleries. What’s more, the space itself becomes a part of the installation as the run-down concrete and brick walls serve as surfaces for the huge projections – blending what is ‘real’ and what is ‘image’, mixing this (present) space with that (absent) one.

Upon entering this underground space (which is larger than the Palais’ entire ground floor and has ceilings about three-stories high) one can’t help but feel awe – thoughts of architecture, space and place are necessarily present, even if subconsciously. It makes a lot of sense. Traces centres around Lullaby To My Father (2011) a film made in tribute to Gitai’s father, architect Munio Weinraub, who was accused of “treason against the German people for subversive activities” in 1933 and exiled from Germany to Switzerland and then Palestine (now Israel). He died over forty years ago but has, it would seem, been ever-present in Gitai’s work. We can feel this presence, as well as these notions of space and one’s relation to it, for example, in the long dolly shots of Nazi architect Albert Speer’s Zeppelinfeld stadium in Nuremberg; in the long close-up of a crying Natalie Portman travelling on a train whilst a Hebrew Passover song plays [Free Zone (2005)]; in a shot of an anonymous violinist playing in front of a building designed by architect Karl Moser, with whom Weinraub worked in

Switzerland; or in re-creations of Weinraub’s trial in Frankfurt, which evidently Gitai would not have seen.

The very first part of the exposition is a display of simple A2 and A3 black and white photocopies of documents associated with Weinraub’s trial as well as an outline, written in verse by Gitai, for a film about his father – what the story is, why he wants to tell it. These documents – especially the poem – form somewhat of a textual background to what is a very spatial (visual and aural) experience, providing factual hints about how the film excerpts could be interpreted. For example, we learn that the reputation of acclaimed architect and last director of the Bauhaus, Ludwig Miës van der Rohe (a former professor of Weinraub’s), was saved by the fact he missed out on the role of chief architect for the Nazi party. This job would go to Speer whose stadium we witness covered in snow and solemnly encircled by Gitai’s camera nearly eighty years later.

Traces permits access to an incredible depth of perception if one is open to it. The installations, the themes and the space itself are all conducive to a highly emotional and sensory experience. Nevertheless Gitai doesn’t force anything on us. He seems to allow the spectator to choose how much s/he wants to read into it, which links s/he wants to create, which leads s/he wishes to follow. Wandering through this cavernous space, multiple layers of possible meanings begin to surface, overlap and merge with one’s own story. Watching these films as they interact with the Palais’ rough walls – staring at them, mesmerised, through the metal high-fences that separate walking space from film space, evoking at once prison bars and zones of construction – one apprehends that maybe the personal and the universal can in fact only exist simultaneously, and never independently.

A m o s G I tA I ’ s t R A c E s At t h E PA l A I s d E t o k y o PARIs (5 FEbRuARy – 10 APRIl 2011)w r I t t e n b y E l E A N o R I v o R y W E b E R

‘wanderIng through thIs cavernous space, multIple layers of possIble meanIngs begIn to surface, overlap and merge wIth one’s own story.’

Diary 1


GALLERYSPRING | 2011 37Story

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maNIPul ate | gallery

M a N I P U -l aT e


Annu Kilpelainen’s diary entries, themed ‘Sly tactics of psychological manipulation’ kick start our gallery series, presenting us with a commentary on our changing roles in everyday social situations.

Jenna Selby’s is a cathartic reaction to a consumerist society. She believes that, ‘the ability to manipulate your environment through skateboarding is about how you begin to take control, how you begin to develop your senses, take more notice of the world and enjoy that involvement within it.’

In his illustrations Dave Smith takes a literal approach to the subject of psychological manipulation. Using abstract images of heads and puppeteers he paints a comical yet ominous world of persuasion.

Sandra Le’s work is part of a series of quadriptychs, which take seemingly banal subjects and reassemble them to create new meanings. The striking colours and reformed compositions of her work showcase an exceptional beauty in the ordinary.

M A N I P U -L AT E

The Theme of The firsT sTory magazine gallery - ‘Manipulate’ - challenges differenT means of exploring and alTering a subjecT, medium or concepT in The arTisTs’ chosen fields. The conTribuTors offer us a diverse collecTion of images, demonsTraTing a wide range of inTerpreTaTions of The Theme.

In his work Jeff Knowles looks at synthesis, a process in which two or more pre-existing elements are combined to form something new. He explains: ‘The viewer goes through a process of defining what the form means to them. In the main, the responses are one of anatomical illustrations and documentation of living organisms.’

The surrealist works created by Jose MMG comment on the saturation of media in the contemporary society. The sterile environments he creates remove us from our idealistic worlds, allowing us to look at our creature comforts as a destructive force.

The final contributor to our first gallery Richard Doran plays on the viewers’ perception. Disguised as a documentary photography, his images have been manipulated to present artificial and sometimes comical scenes.

enjoy the first story Gallery.


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ANNU K ILPEL AINEN | gallery

Diary 3

Diary 2


Untitled 2010


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JENNA SELBY | gallery

Untitled 2009


Connections


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DAVE SMITH | gallery

Puppeteers

www.storymagazine.co.uk4 4 Story

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SANDR A LE | gallery

Lozenge


Ingurgito Nautilus


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JEFF KNOWLES | gallery

Ornithorhynchus Anatinus

Pyrolysis


Like an ostrich running,


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JoSe MMG | gallery

Virtual education


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BiRDS


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R ICHARD DOR AN | gallery

DoGS


D AV I DSTRAIGHT1C O N N A N M O C K A S I N

+Richard Doran interviews photographer David Straight and Connan Hosford - a singer, songwriter and musician, nominated by Straight as his guest interviewee.

DAVID STR AIGHT | +1


Left: Untitled, London 2007


D AV I DSTRAIGHT

H aving known David Straight’s photography for several years, I endeavoured to track him down, see what he’s been doing and

what makes him tick. Born in New Zealand, Straight shoots all around the globe. His photos are timeless glimpses of our society, portrayed with sensitivity and attention to detail. David’s recent stay in London inspired him to shoot the images that follow, which will be published in his upcoming book ‘The End of London’.

It’s been a whIle, what have you been up to over the last fIve years? Christ, has it been five years? Mostly I’ve been wandering around with my camera trying to make sense of things. I’m not sure how well I’m doing to be honest. I’ve been travelling a bit and living in different cities. I’m making a book, which is both rewarding and frustrating.

what was your assocIatIon wIth MagnuM and what dId you gaIn froM It? I was an archive intern there in 2006. The internship lasted only three months but was hugely inspiring. It was great just to be around their works, looking at it for hours and then stepping out on the streets of New York and just seeing things with hypersensitive eyes. I never felt more free or happy ever since. I would sometimes call in sick just so I could go shooting, because I knew the light would be great downtown. It’s really important to have that kind of inspiration around you. It makes things seem possible. And New York had a lot to do with it.

who do you see as doIng great thIngs In the world rIght now? PPaul Graham’s book ‘The Shimmer of Possibility’ is a pretty good advancement in photography. The TED foundation is great for opening eyes and ears. Bertrand Fleuret’s new book ‘Landmasses and Railways’ is a brilliant creation, a real pleasure of a book.

stephen shore Is coMIng around for breakfast, what wIll you Make for hIM? You know, he once came to a house I lived in outside of Wellington. He got to the front gate, slipped on a stone step, fell over and was so pissed off that he turned around and left. I’d probably make him tea and toast.

where do you fInd InspIratIon? Inspiration is everywhere; you just have to be in the right place to find it. It’s in words, music, cinema, art, nature. Sometimes it comes in unexpected ways, like listening to podcasts about science or reading passages of novels. Music is really important, but often the inspiration comes from just being out there in the world and being involved. As Ian MacKaye from Fugazi said: “You’re not sitting at home waiting for the moments to come to you, you’re out there looking for the moments.”

what do you shoot wIth? I have a Leica M6 with a 35mm lens.

If you had a return tIcket to anywhere In the world, where would you go and what would you shoot?Does it have to be a return? Right now I would head back to NYC just to see a friend. Or back to the Middle East, Iran in particular. The people over there are amazing. I’d probably just do what I would do anywhere: shoot what I see and worry about all the rest later.

what are your bread and butter?Editorial and assisting. I prefer to spend my energy on my own practice.

you recently went to Iran. what challenges dId you face when you were there and what was your MaIn objectIve? Iran is fascinating. I went there primarily to see what Iran is, to make up my own mind. If you listen to the



‘I would sometImes call In sIck just so I could goshootIng, because I knew the lIght would be greatdowntown. It’s really Important to have that kInd ofInspIratIon around you... and new york had a lot todo wIth It..’

Below: Untitled, London 2008


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media all you hear is that it’s a horrible, oppressive place that wants to drop a nuclear bomb on Israel and America. They do have a terrible leadership, but so did America a little over a year ago, and there is so much more to Iran than that. Once you get there, you feel like you have this freedom to explore. The people are amazingly friendly, intelligent and passionate and they have a wonderful history hugely influencing the present. There is also this strange and uncomfortable relationship between the government, the religion and the people, which creates a state of ongoing tension. I would love to make a book there but I’m not sure how to do it yet. I’ll keep thinking.

What are the 5 most fabulous cameras of all time? Leica M6 and M9, any Polaroid, Ricoh GR-1… and the camera in my phone.

if you had to spend a year Without a camera, What Would you do?I would write. Writing is the only other outlet that works for me. I would work on a book of short stories..

When did you first get into photography?When I was about seven. My first memories of photography were of jealousy. My older brother was given a camera for Christmas and I thought that I should have been the one to get it. I remember it being an intense feeling. My dad was big on photography so I would borrow his camera. It’s all I’ve ever wanted to do.

What did you set out to capture in the series ‘the end of london’?‘The End of London’ is my personal reaction to a certain place at a certain time. An allegory of sorts. I never set out with a clear idea in mind, it’s more of a culmination of two and half years of shooting on the streets. But as I went along I could see certain threads or ideas emerging, which I pursued because they made sense to me. There is usually one image that piques the body into going down a certain road. For me it was the picture [of city workers] outside the bank of England. It seemed to contain everything that I felt at the time. There is a great quote by Albert Camus that he used to describe his book ‘The Rebel’; it goes: “It is an attempt to understand the time I live in”. That pretty much sums it up for me.

What Was your living situation When you came to london?When I first moved to London I lived for three weeks in a friend’s camper van parked just behind Shoreditch High Street. It was great. People gradually realised that I was living in there and left me mail under the windscreen wipers. Not so cool was the junkie shooting up outside the side door. Towards the end I ended up living in a friend’s house. At the time it was a sort of roof for various transient musicians and artists. Connan [Mockasin] used to stay with his band while on tour. We would often come and go, much to the stress of the permanent occupants. It became this extended family that I am still good friends with. Some of the best people I know stayed under that roof.

What have you got planned for the next 12 months?? I’m working on a new book and I have a few other projects on the go.

Which photographer has had the biggest influence on your Work?? Probably Robert Frank. I picked up one of his books at university and felt like I already new it. There was this power in his work that I couldn’t put into words, I felt it, rather than understood it intellectually. This became an important way of thinking about photography for me.

What changes have you seen in documentary photography since the explosion of digital photography?There is more of it. It’s sort of like music. It’s become so accessible now with the Internet and print-on-demand. It’s a great thing. The way we tell stories is changing and so is what people are saying. The move towards the digital reflects changes in our society and the ways we think about and react to the world. And it has to change too - it can’t stay the same because that leads to stagnation, which is death. We have to move forward. It is something I am grappling with at the moment: how to find a new way of conveying what I want to say. A lot of photojournalists and related organisations are going to struggle in the coming years as the print media industry falls over. They really need to find a way of being sustainable in the digital age. Internet is the future.

top left: Untitled, London 2007

bottom left: Untitled, London 2006


Above: Untitled, London 2006



What is the most profound observation you have noted While photographing people? I have no idea. Everything seems as messed up as it always has and I don’t think it is going to change. My hope is that people finally start caring about the world and become a little more engaged. You know, ‘pessimism of intellect, optimism of will’….

What is the best thing about doing What you do? It satiates a great curiosity. I’m a restless type and I love being out there in the world, learning and watching what goes on. Photography gives me an excuse to do so.

What is the hardest thing about doing What you do?The usual dilemmas of anyone trying to make a living outside of a 9-5. Photography is a personal medium so when it fails it’s often a bit of a low. But the positives far outweigh the negatives.

What are you up to this evening?Dressing up and going out.

any last Words? Thanks!

below: Untitled, London 2006

“...there is so much more to iran than that. once you get there, you feel like you have this freedom to explore”


1 C O N N A NM O C K A S I N

+After getting to know Connan Hosford in London and in New Zealand, Straight has nominated the musician as his +1 Interviewee. Residing in East London, he is better known as Connan Mockasin and will be releasing his debut album this year. He produces brilliantly creative and sometimes quirky music that flaunts his charisma.

What brought you to London on your recent trip?I had a soft UK release to test the waters with my first record, with Erol Alkan’s label Phantasy. It gets fully released next March with Phantasy and Because Music combined.

You have an affinity for great names. Can you explain the title of your new record ‘Forever Dolphin Love’?It’s about falling in love with something you’re not allowed to fall in love with. In this case it’s about a dolphin, which can’t live on land so it can only pop up for a bit. There are men who have fallen in love with dolphins before… But it doesn’t have to be a dolphin, it could be a person from a strange country or with parents who wouldn’t accept it. You have recently crossed paths with photographer David Straight in a transient East London house. What was your highlight of that stay?



Recording myself singing to Ladyhawke’s video ’Dusk Till Dawn’, with David watching.

What do you think are the biggest opportunities and the biggest challenges of the modern music industry?The biggest opportunity is YouTube. The biggest challenge is dealing with live soundmen, who once wanted to be musicians.

What is your philosophy of creativity?Being excited about something makes me feel cre-ative, even if it’s something as small as knowing you are having a nice dinner later on.

I’ve seen plenty of cardboard in your videos and paint in your apartment, is there a budding artist in you that we should know about?Yes, I do enjoy painting and drawing and I hope to have my first exhibition either this year or the next.

What would be an ideal day in the life of Connan Hosford?A good sleep in with no emails, followed by a pro-ductive day.

What is your philosophy on life?Make sure you do what you are passionate about, if you’re lucky enough to know what that is.

Who do you most want to direct a music video for you, and why?Daniel Brereton, because he is so imaginative and makes amazing videos without wasting money.

How does your live music differ from your records?I recorded my record mostly by myself but I play it live with a band. So then other people contribute their ideas to different parts of the record, which I enjoy.

Many artists are inspired by music. What or who inspires you as a musician?I like seeing photos of recording studios that musi-cians have built themselves.

What is the most recently played tune in your MP3 library?‘81 Inch Prime Arse’ by Tonetta.

You have very soft hair, is there anything your fans should know about this?I have a two-piece band with Sam Dust and we are finishing off our record, which I’m really happy with!

What other collabs do you have lined up?I wrote a song for Charlotte Gainsbourg recently and I’m about to record it with her… Maybe something with Mickey Moonlight or The Avalanches.

Plugs? Upcoming albums, singles or tours?‘Forever Dolphin Love’ single 12” with Erol Alkan’s rework and Mickey Moonlight’s remix out mid March. Also ‘Forever Dolphin Love’ album out late March with live album. Possible UK tour with War-paint in May. Possible French tour with Metronomy in May. Primavera sound festival in Spain in May.

Connan Mockasin entertains friends and fans in his East London apartment

LOCATIONManchester / London / Dorset / All over. I’m a recent graduate nomad. .OCCUPATIONGraduate / Skateboarder / Designer / Blogger / Nomad. My number one occupation is Copson Street.FAVOURITE PASTTIMEDinner with friends. Banter and good food. Rolling

around under the summer sun with a can of fizzy pop and cheesy music.FAVOURITE PLACEThe beach. Especially in Calabria, Italy - where my family is from. .WHAT BOTHERSYOU?Small minded folk. Those who aren’t willing to ‘experience’. Society’s generic pressures also bother me.

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MARIA FALBO

WHAT DO YOU TREASURE?Cliché: family and friends. Memories and drive for more! Skateboarding and the friendships and opportunities that have arisen from them. FAVOURITE ARTISTRight now Phillip Lim’s design is up there. My friend Sophie Titherington’s paintings are also up there. Each season my tastes evolve, and so do my favourite

things.DEFINING CHARACTERISTICIn the words of Cecile...“My love of pleasure seems to be the only coherent side of my character.” WHAT DO YOU ENJOY MOST ABOUT YOUR WORK?How tropical it is!

24PROJECT

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Some sixty to seventy kids, and I mean true kids in spirit not necessarily minors, all bundled around our cigarettes in front of a warehouse in North Portland. Not many of us

know each other, but we all know each other’s vibe, laxed to the max and down for whatever. We are all stoned, buzzed or working on it… or possibly getting over it. If you are on the wagon, the pipe is going around, there is a kid passing out hash truffles or your friends all have beer in their bags because you can totally do that here; but even then the makeshift bar is still functioning at full capacity, with my buddy Evan as the free bird running boy, grabbing empties and helping out in whatever way his black-painted, hat-wearing beat-self can. Evan shared this place with me, all he said was, “It’s a fucking illegal speakeasy, and you can bring your own beer AND there is an open mic.” Meredith recites a poem she wrote when she was three, about a hot-lava horse. The first time I came here Evan shushed me when I shushed him for talking on the phone while a performer was unleashing their heart unto the floor of the velvet-covered room. Now when you go everyone who gives a damn is shushing you, because like all good things it’s got tourists. Granted I love them, I loathe the fact that all momentarily appealing culture is to be destroyed by a much more viral form of said culture, and the easy bits drown out the good waves. What makes this place unique is that it has a higher

ratio of real human being to some motorized jack of a hipster than any legal bar in town. Forget Ginsberg and his ‘just some guys trying to get published’ - there is something that makes that act worth a damn and it’s right here, in the heart of Portland’s most raw and recently renovated culture. Smart hippies. I like to call them gyp-hippies: gypsies gone hip. They are business oriented ganja smokers. I saw seven people crying tonight, and every time it was out of passionate love for the world, more specifically, for the people around us: our friends. We slap the ground with our feet when there is no drummer boy or girl to accent the beautiful notes of the guitar-playing babe or baby. We clap our hands when Telenovela asks us to get down with some positive flow and we sing along in our hearts with Karla Mi Lugo. She practically weeps in her red sweater; weeps of tainted scars of tattoos that both represent and express her emotional body. The tattoo has a meaning, about which she tells us during her performance of telling us about her tattoos. Karla is self-emanating theatre. A sleek brother of blonde hair and thin proportions, delicate and strong spirited, hops on stage in a barefoot imagination of beach towns in the 70’s, but salt and peppered with the spirit of Jack Johnson himself. You can feel the room strip of their clothes and undress to a bathing suit fit for Spain; we are all so beautifully insane and safe here amongst the candle-lit tables. We’ve transformed into the 60’s,

B e at L i v e s : N o r t h P o r t L a N d s P e a k e a s y , t h e r e a L s e c r e t o f P o r t L a N d , o r e g o N . w r i t t e n b y A l i e t A J o y c e H e r r e r A - t r A i n

SPEAKEASY | GIG REVIEW


FoRGEt GInsbERG - thERE Is somEthInG that makEs that act WoRth a damn and It’s RIGht hERE

everything good about them anyways, or so we pretend. We’ve transformed into a wormhole of do-good-spiriters and every one is broke but we all just want to share a smoke over a joke - the post-modern folk. An announcement cued in the middle of two sets, one of the homies from Telenovela shouts out “where you at?” the name of a program that connects homeless hippies with hippies with homes (and more importantly rooms for rent!) These hippies are holding it together; they are brethren. The deal is, these are the kids you see on the corner, playing the tiny piano in front of the mall or the girl you see in goodwill, who reminds you of Minnie Mouse but you’re not really sure why; they are just classic characters. These are the kids of ‘anima’, if you will, having fun just to have fun, because they are bleeding what Ginsberg spent his whole life becoming. They were ‘it’ from the moment they entered this world beat as fuck, hesh as hell and divine as the Dalai Lama wearing 3-D glasses, riding a Segway through Cairo, naked.

“

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68 www.storymagazine.co.uk68 Story

Photography: Hol ly Fa lconer

Styl ing: Cel ia-Jane Ukwenya

Models: George at Premier, Jade at M and P models

Make up: Carol ine Shutt leworth using Laura Mercier

Ha i r : Zara Toppin

With thanks to: Br iony Worth ing

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69SPRING | 2011 69Story

L AY M E D OW N








EAST SIDE STORY

SO FRESH

b y R h i a n n o n A d a m s

Styl ing: Soph ie A l len

Assistant: R ichard Doran

Models: James Massiah and Ida May

Cloth ing: Copson St reet tee sh i rts and hoodies,

the rest models’ own







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If you would lIke to see your art In our next Issue, we are equally Interested to hear from you. for the next story, we are lookIng for talented creators who can Interpret our themes wIth fresh mInds. If thIs sounds lIke you, then please vIsIt www.storymagazine.co.uk for our submIssIon guIdelInes and more Info.

submit Big Bum, Sarah Lanarch, 2004sarahlanarch.blogspot.com

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