quint magazine | issue 13

quint magazine | issue 13 | February - March 2012 | complimentary

quint & Prolab present

A new concept online art gallery where you can buy artwork from around the world, or sell your artwork to regional and international markets.

We focus on up and coming artists and aim to provide the local market with the opportunity to invest in artwork, without breaking the bank.

For more information visit www.artbankdubai.com Or email [email protected]

The online Art Bank shop is launching soon!

2

OUR NOTECONTRIBUTOR HIGHLIGHTSNEWS & PRODUCTS

DESIGNDESIGN DAYSON THE REDUNDANCY OF FORMFEATURED DESIGNER - ALEX MICHAEL VARANESEFEATURED ARTIST - SAIF CHILMIRANTHE ART OF TENSION

PHOTOGRAPHYTHE OIL SLICKSFEATURED PHOTOGRAPHER - IGA DROBISZFEATURED PHOTOGRAPHER - BARNA SZOKE

FILM & THEATERHIROSHIMA MON AMOURPANS LABYRINTHA CONVERSATION WITH LAFI ABOODHANDMADE INTERRUPTIONS AND DUBAI’S ART SCENE

GAMINGPAC-MANGET YOUR GAME ON

FASHION & BEAUTYPEEK SHOWFASHION PHOTOGRAPHY - PAT BOMBARDLIPSSNEAKERS OF THE MONTH

MUSICSTEVE STRANGEKAYO DOTTHE DRY SEAOPETHBEIRUT GROOVE COLLECTIVEPRISMA SONG FOR EUROPEMIXTAPE

LITERATURESHAPE OF THINGSTHE KITCHEN SLAVE - DAY 6JANUARY 16MADINA MOUJAWIRA LIL ARDA PAYPHONE. A PORT. A SOUL-SEARCHING TALK.THAT BLACK JUMPSUITOF KILLING THE FLANEURIN REMEMBRANCEREADING LIST

EVENTSART NIGHTSLES FILS DE TEUHPUSCISSOR SISTERS LIVE IN ABU DHABIEVENT LISTINGS

LAST CALL

456

1016183440

425264

76788084

8890

92104112120

122126127128130134138139

140142143144145146148149150

152152154156

158

OUR NOTEWe’re currently in one of those insanely busy times of the year, and I’m sure most everyone else can agree, (especially those in some kind of creative field). Lynx is coming up quite soon and all our digits are crossed as we’ve entered the magazine in 3 different categories, and right after that begin the art events. From Sikka Art Fair, the new Deisgn Days Dubai (check out our interview with Cyril Zammit inside), and Art Dubai, to dozens of individual events around town, this will definitely be a whirlwind of a month.

quint is also really excited to launch our new venture, Art Bank. After quite some time of covering the most talented local, regional, and international up and coming artists in these pages, we’ve paired up with Prolab to bring you closer to their work. Keep an eye out for our official launch event in the next few weeks.

We hope you will enjoy this issue, (lucky number 13!). The diversity of artists always pleases us, and we have interviews with local artists, Beirut visitors, the legendary Steve Strange, and much more.

Also keep a look out for new names gracing our pages! And if you ever want to join the mighty ranks of quint contributors, just drop us an email to [email protected]

Ta for now

ZAINA SHREIDI & GYULA DEAKEDITOR IN CHIEF & CREATIVE DIRECTOR

quint magazine | issue 13 | February - March 2012

Editor in Chief Zaina Shreidi [email protected] DirectorGyula Deák [email protected] Development ManagerJames De Valera [email protected]

Designer: Ritu AryaFashion Editor: Pratha SamyrajahPhotographers: Saty+PrathaContributors Prank Moody, Mohamed El Amin,Fares Bou Nassif, Siham Salloum,Trainer Timmy, Ryan Bryle, Samar Alkhudhairi, Ross Gardiner, Thomas Shambler, Mark Fillon, Taraka Tennakoon, Roxanne Myburgh,Lantian Xie, Jason Joseph, Toufic Araman, Balazs Magyar, James De Valera

This production and its entire contents are protected by copyright. No use or reprint (including disclosure) may be made of all or any part of this publication in any manner or form whatsoever without the prior written consent of quint. Views expressed in quint magazine do not necessarily represent the opinions of the editors or parent company. quint is published by and a trademark of quint FZ LLC.

Circulation: 10,000Printed by:

EMIRATES PRINTING PRESS

Distribution by

Partners

Contact [email protected] [email protected]

quint HQSuite 306, Tiffany Tower,Jumeirah Lakes TowersDubai, UAET: +971 4 447 5354

www.quintdubai.comwww.quintmagazine.com

4

Leah is a commercial photographer based out of Atlanta Georgia. She especially loves creating fashion and beauty editorials. When she is not shooting she out dancing or cooking for her friends. You can see more of her work atwww.leahperryphotography.com

Graduate BFA School of Visual Arts NY 1980Savas Alatis is currently Chair of Cinematography for New York Film Academy, he is a member of the International Cinematographers Guild, and runs his own production company Cinema Verite Inc. Savas has worked on 14 feature films, over 300 TV Commercials, 50 Music videos, and numerous Documentaries. Savas spent 12 years in sports production, with NBA Entertainment, Major League Baseball Productions, National Hockey League, United States Golf Association, Fifa World Cup and has worked 2 Olympics games.

SAVAS ALATISFares writes so that he can stop itching to write, so that he can have something to look back to that reminds him of the path he took, the way things change. Spitting out little letters in a carefully designed process that culminates in a cacophony of words that could possibly create a symphony while maintaining the utter simplicity necessary for the youngest minds to enjoy.

And sometimes, occasionally, some of what he writes looks like it’s something someone else might want to know about.

Freelance video editor with a passion for bacon and waffles.

Faris is a hotel management major, and although he has proved to be more than proficient in the several departments available in the hotel industry, he favors those that require the most interaction with people (guests and coworkers). He also works part time as a musician and facilitator and Dubai Drums, and one day aspires to be a renowned actor.

Ross Gardiner is a fiction and humor writer from the Highlands of Scotland. Born in 1987 he lived in Scotland until 2008, when he decided to move east to Seoul, South Korea. He has travelled extensively around various parts of the world, carrying a keyboard, a coffee and a carton of smokes. Oh and he’s not on Facebook. You can find out more about his views on the topic on YouTube.

LEAH PERRY

FARIS AL GHUSSAIN

FARES BOU NASSIF

NAZY HASHEMI

ROSS GARDINER

Balazs is a Hungarian multi-talented graphic designer who’s been in the field for 6 years. After finishing his graphic design studies he worked as a Tiffany lamp craftsman and also mastered framing techniques, but eventually he got back in to design. He is a member of a youth society which runs a cultural venue every summer where he organizes and curates exhibitions, concerts and performance art.

BALAZS MAGYAR

Wriggly Scott, or Neil Andrew, is originally from the UK and has been based in Dubai for 7 years. In that time he has firmly estab¬lished himself at the forefront of the UAE music scene, performing regularly around town and founding and co-founding the success¬ful nights Elefant Sounds, On The Corner, Freshly Laced, and DUST. He established the first ever internet radio staion in The UAE (Lush FM), and hosted the first ever underground hip hop show on the FM (Radio 1 104.1FM). Nowadays his sets are a riotous collage that take you from Latin to Electronic to Hip Hop to Boogie with everything in between.

NEIL ANDREW

CONTRIBUTOR HIGHLIGHTS

CONT

RIBUT

OR H

IGHL

IGHT

S

Counter-cultural, world traveller, Ali Taheri brings his acerbic wit and keen tongue to his prose. Ever the believer in Bob Marley’s Zionist views of the future, he believes that truly everything will be Erie! His work in film and art is respected nationally and he has been recognised as one to watch on the local event scene. If you see Ali out on the town you know where you’re at is directly ahead of the curve! He is also a comic book fanatic and a terrific cook.

ALI TAHERI

news&products

Last year, Art Dubai (the most prominent international art fair in the Middle East/North Africa/South Asia) hosted a fair that welcomed 20,000 visitors, as well as 60 international museum groups. This year Art Dubai is hosting 75 galleries from 31 countries, including performative tours, art workshops, the significantly commended Global Art Forum and the exposition of the works by Abraaj Capital Art Prize winners. This event is perfect for artists and art enthusiasts to get a chance to truly appreciate the beauty and diversity of the growing art community. The fair will be held from March 21- March 24 at Madinat Jumeirah.

Drez, a Hungarian designer featured previously in Issue 4, has officially launched his site this month for Kronex production. The online limited edition design accessories and clothing shop shows unique iPhone covers such as the laser engraved bamboo and aluminum cases, both lightweight and covered inside with velvet-textile. Also, products such as clothes, tote bags and pillows will be available soon, and the unique designs will definitely grab attention! To see quick glimpse of the products available, check out kronex.net

The sixthedition ofArt Dubai

The new Design Days Dubai is launching March 18 – March 21 and will be a haven for designers and design aficionados. Design Days Dubai is bringing over design gurus from around the world, and is exclusively committed to collectible and limited edition furniture and objects and fixtures to view and purchase. These furnishings include fascinating creations, in addition to multiple public talks and workshops, inviting any interested individuals to share ideas and knowledge with professionals and aficionados alike. The event will take place near Burj Khalifa in downtown Dubai.

Design Days Dubai

SIKKA Art Fair focuses on the fast developing art community in the UAE, portraying the artworks of local and Emirati artists at Al Bastakiya from March 15 – March 25. The SIKKA Art Fair is hosted by the Dubai Culture and Art Authority to showcase the rapid progress of art in the UAE by supporting aspired artists in the country. The fair will host a range of workshops and interactive talk sessions with reputable artists, as well as other educational activities and tours. Our friends at The Fridge are also taking part so this is definitely an art event not to be missed!

SIKKA Art Fair

[email protected] [email protected]

[email protected] kronex.net

Kronex productions website launch

Sponsored byIn partnership with

designdaysdubai.ae

MARCH 18 | 19 | 20 | 21 2012

The first international design fair for collectible, limited edition furniture and objects in the Middle East.

6

For all those who sing in the shower (you know who you are) The TearDrop iPod water resistant bathroom speakers are just for you! Now you’ve got a better chance at hitting those notes, and getting the words right. No need to worry about splashing your iPod with water anymore, and best of all, battery life lasts up to 10 hours! Now you can finally take those long showers and sing to your heart’s content.

The Mu is a miniature foldable USB power plug that can easily fit in your pocket. Find a power socket and any empty USB powered device will be charged in an instant with this new nifty gadget!

http://www.tuvie.com/color-picker-by-jinsun-park/

TearDrop iPod

Tired of your drinks getting warm? Accidently bought a warm Cola instead of a nice, cool one? Fear no more as the USB mini fridge provides enough storage space for a single can of your favorite soft drink, on the go!

Not a big fan of cleaning up after yourself after a nice filling meal? None of us are, but Mini Robot Vacuum is! In fact, it’ll gladly gobble up all the chunky crumbs you’ve left on the table at just a push of a button.

How many times have you lost something only to get be at the receiving end of a lame ‘why don’t you call it’ comment? Now you can chortle right back ‘Maybe I will!’ This new product uses the same method you would if you had lost your phone; by placing a ‘tag’ on your desired object and also downloading an inclusive smart phone app (Blackberry or Android) which activates the beeper on the tag. Also, this works vice versa. You can call your phone from the Cobra tag!

The La Sardina 35mm camera is a new, innovative analogue wide-angle camera designed by Lomography, based on the recognizable style of a sardine can. These cameras not only come in an extremely wide variety and look great, they are also very easy to use. The camera features a 22mm wide-angle plastic lens, 2 easy to use focusing settings and bulb setting for long exposures. If you’re a sardine lover or just love the look of sardine cans, this camera is definitely for you!

http://www.mollaspace.com/shop/electronics/teardrop-ipod-water-resistant-bathroom-speaker.html

Mini Robot Vacuum

http://themu.co.uk/

Cobra Tag

FeO2

Heart shaped utensilsThe perfect finishing touch to setting up a romantic dinner, these heart shaped utensils are surely just what you need to enjoy a hearty meal! The set comes with 10 hearts that can break into 20 broken hearts. Each utensil piece is designed to poke, cut and scoop any warm meal that lies before it. Their small size and great functionality make these utensils especially ideal for a romantic picnic. Hint hint. After all, Valentine’s ain’t the only time to whip out the charm.http://shop.thefutureperfect.com/browse-by-designer-1/fatima-fazal/heart-part-utensil-set.html

Colour Picker

La Sardina Cameras

http://www.fredflare.com/TOP-SELLERS/Mini-Robot-Vacuum/

The Mu

https://www.cobra.com/detail/cobra-phonetag.cfm

USB Mini Fridge

http://usb.brando.com.hk

This hand-crafted bike combines the works of Hans Steinkopf, Sebastian Faber and Christian Görmer. The result is a unique looking fixed-gear bike. The bike does not only look great, but also handles extremely well (every part of the bike had been picked and placed with utmost caution) and has a very comfortable bike saddle made by Brooks. Also, it features an old fashioned hip flask under the saddle, and a blanket held to place by an army belt in front of the handles.

http://www.cycleexif.com/feo2

This is pretty much the coolest thing we’ve seen in a while! Color picker is a concept pen that is like no other, as it can scan the color of anything surrounding you. All you have to do is place the pen on the object you want to use, push the scanning button and the RGB cartridge of the pen mixes the required inks to create the color of the object you chose!

http://usd.shop.lomography.com/la-sardina-camera-and-flash-belle-starr

Wonder by R J Palacio

news&productsfind

themin

Nostalgia addicts, who have extra space in their humble abodes, with sizeable amount of liquid money, listen up - You shan’t be able to say no to this! The out-of-this-world Arcade Table - a modern take on the old classic, clean lines, cool design, quality workmanship, rugged construction is loaded with 60 classic games. So no matter what floated your boat in the years gone you are covered! Designed to appeal to those who covet exclusivity and cutting edge design, the Arcade Table comes with 60 classic games on board, thumping speaker with audio control, LCD screen for sharp, clear graphics and an awesome, seven-coat two-pac finish. Just press start to relive your youth and dominate the pixelbit universe all over again!

Waiting for the Sun Wooden Sunglasses

A slick pair of ostentatious spectacles, for the discerning spotlight-magnets, that can match your superstar status. The slick pair that sport perforated graphic artwork on the lenses, Nunettes have become the latest trend thanks to a diverse collection of colours ranging from animal to hipster (sigh..), Paris, and even Sponge Bob! Another made in France brilliance (ah bien sur..) the Nunettes are the hype of this season and the ultimate accessory for anybody who is not shy to standout.

Thick bulky wallets – one of life’s little problems. Solution? The award winning Dosh wallets. Renowned for their design configurations, they help you shed the excess baggage of traditional shapeless leather wallets and streamline the contents of your pocket.The wallets are injection moulded in an advanced polymer material called desmopan®. This material makes Dosh wallets highly durable, water & chemical resistant, while also giving the products a luxurious, soft-touch feel. Plus, for the environmentally conscious, all of the materials in Dosh wallets are recyclable thus no animals, humans or rivers are hurt in the production of these money managers.

We can stop being in denial now; we all know we ate too much this recent holiday season. Might have we even gained a couple pounds of blubber alas there is a way. The Dukan Diet is a unique 4-step program, combining two steps to lose your unwanted weight and two steps to keep it off for good. The book includes the four stages of the diet set out clearly and simply: Attack, Cruise, Consolidation, Stabilisation – much like a war against the unnecessary K n G’s. Devised by Dr Pierre Dukan, a French medical doctor for thirty five years this thing is legit and credible. Bottom-line is, it’s French and they got it going on and now we normal people can get in on the secret!

Dosh Wallets

‘I won’t describe what I look like. Whatever you’re thinking, it’s probably worse.’WONDER is the funny, sweet, and incredibly moving story that follows Auggie Pullman’s journey through his first year at Beecher Prep.Born with a terrible facial abnormality, this shy, bright ten-year-old has been home-schooled by his parents for his whole life in an attempt to protect him from the stares and cruelty of the outside world. Just an ordinary kid with an extraordinary face. But can he convince his new classmates that he’s just like them underneath it all? A spare, warm, uplifting story that will have readers laughing one minute and wiping away tears the next.

Moi: *Les GASPs* “C’est Genial!”Sustainability that proves to be ultra modish with the innovative use of raw natural materials to design a retro range of uber cool wooden sunglasses. Can I say ‘apple of my eye, on my eyes’?Produced in France, the frame is constructed purely of natural Teawood and each pair is handcrafted, making a statement and reducing your carbon footprint. Unique, practically pennyweight, and fetchingly shaped, this collection is a trip full of new experiences and concepts about fashion and the environment. ‘Au naturale’ coolness!

Nunettes©

Arcade Table

Vespa

I, myself, am a fan of the iconic time-tested survivor that is the Vespa scooter. Sadly we don’t live in Tuscany or anywhere near such fairy tale settlements. So to compensate for this deep-seething reality bite, Vespa classics provides us with wrist watches, alarm clocks, table lamps, lighters, pocket knives, multifunctional pliers, eco-leather bags, key chains and more; all inspired by the elegant finesse of the original Vespa model and the historical themes of the Vespa world. Still, these sophisticated collectibles are impressive and should take you places – not literally.

VIOlight

8

C

M

Y

CM

MY

CY

CMY

K

virgin-hom_quint.pdf 1 1/18/12 3:22 PM

Sponsored byIn partnership with

designdaysdubai.ae

MARCH 18 | 19 | 20 | 21 2012

The first international design fair for collectible, limited edition furniture and objects in the Middle East.

DESIGN DESIGN DAYS

But this year the creative geniuses who lurk behind the (art) scenes (presumably discussing incredibly avant-garde things in hushed tones) have introduced something particularly special to the month of March. And that is Design Days Dubai. Taking place 18 - 21 March 2012, Design Days Dubai will bring us a diverse and intriguing collection of work from around the world, as well as renowned artists who will showcase their work, lecture, and lead workshops throughout the week.

Being a design studio, a design focused magazine, and design freaks in general, we could hardly contain our excitement at the news, and just a few weeks ahead of the launch, we’re practically giddy.

And so we caught up with the man behind it all, Cyril Zammit, to get some info on what we can expect this year, who we may end up rubbing shoulders with, and what it will take to take home a piece of design history.

This is the first year that Design Days takes place, as part of the Art Week in Dubai. Tell us about how the idea for Design Days came about and how long it has been in the making.

After 5 successful years of Art Dubai and a great development of art galleries in town, and in parallel with the important culture initiatives overtaken nationwide, we thought the market was ready to introduce a complement to art: limited edition and collectible design. Dubai is the natural home for design: creative, forward thinking, international.

What are the various types of design that will be present at the event?

The majority of the design presented by 22 galleries is contemporary design: new creations, all limited edition or prototypes. We will also have 3 galleries bringing classic pieces from 20th century, often called “vintage”. This is always a surprise to (re)discover these amazing creations.

ANYONE WHO HAS BEEN IN DUBAI, EVEN IF ONLY FOR A FEW MONTHS, WILL KNOW THE FLURRY OF ART AND MADNESS THAT OCCURS EVERY MARCH. ART DUBAI DRAWS IN THOUSANDS EVERY YEAR AND LOCAL ART FAIRS SUCH AS SIKKA ART FAIR CELEBRATE LOCAL ARTISTS.

DESIGN DESIGN DAYS

By bringing such incredible work to Dubai, the likes of which has previously never been available for viewing or purchase, do you feel that there will be an increase in understanding of product and industrial design?

Design Days Dubai will bring design pieces that should be seen as new form of art. There is a long process to achieve such pieces: concept, research on material and production… Visitors will have to be curious and ask the galleries about such process to have a clearer understanding on the uniqueness of the pieces exhibited.

We also want to create a new dialogue between the students in the region, the professionals and the industry.

I also encourage our visitors to consider the purchase of the pieces presented as a real investment whose worth will definitively grow over the years.

Who are some of the artists whose work will be present at the event?

The list is long but I can pull out some for you: Oscar Niemeyer, Frederik Molenschot, Sebastian Brajkovic, Joseph Walsh, Leo Capote, Amaury, Karim Rashid, Guy de Rougemont, Jean Prouve, Charlotte Perriand, Christian Astuguevielle, Jean Royère, Kranen/Gille, Kiki

van Eijk, Kang Myung Sun, Georges Mohasseb, Florian Schmid, Tom Price, Karen Chekerdjian, Khalid Shafar…

What sort of products will be available for sale? What are the price ranges?

Wide range of objects: chairs, tables, cabinets but also interactive pieces. All kinds of materials are used in the production of these objects, and the price range goes from EUR 500 to EUR 300,000.

What is the real value of investing in unique design pieces?

This is the same intellectual (and commercial) process as asking what is the value of investing in art. You not only recognise the talent of a designer/artist but you also reward his/her creativity.

What has been the attitude of the artists who are exhibiting?

Designers who are coming to Dubai are thrilled to meet a new culture and pace of living. Anyone we asked to come did not hesitate and are looking forward to meet the visitors, collectors and peers from the region.

How has the current global state of economic turmoil affected the design world?

12

The Design world and market did suffer of the economic turmoil at the same time as the art one but the practicality and creativity of the design produced during the crisis never stopped.

Tell us about the workshops taking place, and some of the highlights.

The workshops are an invitation to meet and share knowledge between participants and the host. You can work with Kwangho Lee and learn from his weaving technics using typical Emirati material; or create objects with Brazilian designers Leo Capote and Amaury. We also have the support of Tasmena for a workshop based on objects found in Dubai; WTD will organise a kids workshop.

Finally, one of our patrons, Li Edelkoort, will do a lecture on the trends in design in 2014.

What sort of opportunities will be in place at Design Days Dubai for aspiring designers?

Another patron of the fair, Nada Debs, will welcome design students for two mentorship sessions. Each student will have 20 minutes (one to one) to show his/her portfolio and get advice from Nada.

What are Design Days’ goals for this year, and what do you look forward to in the future?

We aim to raise awareness on design throughout the year. We are grateful that institutions like Tashkeel have started regular workshops on design and we would like to grow such initiatives by offering our network to galleries, universities and individuals. Finally, we hope that the local industries will support the design community by offering the possibility to produce their creation in a limited series. It is an amazing dialogue when a company is (re)discovering its skills by producing a design piece. The entire production line is rethought and new challenges reached.

We’re looking forward to seeing the various galleries, artists, and the work they’ll be bringing! Hopefully we can even manage to save up and buy something for the quint office. You never know!

Remember to keep an eye and ear out for certain names and faces, and attend as many workshops as possible. Designers, creative folk, and anyone interested in design and art, should definitely seize the opportunity to work alongside greats like Kwangho Lee, Leo Capote, and Amaury!

DESIGN DESIGN DAYS

GALERIE BSL

CARPENTERS

GALERIA + COLETIVO AMOR DE MADRE

DOMINIC HARRIS

14

CARWAN GALLERY

GALERIE DOWNTOWN FRANCOIS LAFFANOUR

R 20TH CENTURY

DESIGN ON THE REDUNDANCY OF FORM

16

This issue, I want to focus on industrial design and design history’s misgivings. I’m an advocate of visual communication, with most of my research gearing itself towards pushing design history in the direction of a more holistic understanding and application of graphic design history. But let’s put that aside, for now, and talk about the ubiquitous placement of the chair as a designed object and its ceaseless, perpetual, redundant discussion among academia, critics, and producers. From the Charles Mackintosh chair, the Gerrit Rietveld, the Eames, to the more contemporary Sottsass, Philippe Starck, and Jasper Morrison creations.

On Flipboard, while skimming through one of the many design channels I’ve saved into my account, I loaded one particular feed (to use a generic term) and was confronted with over twenty different chair designs. And this was supposed to be a cutting-edge product design trends feed.

While studying design history, it seems historians have a fascination with the chair that goes beyond anything I can understand.

Yes, the chair is the ultimate embodiment of harmony, comfort, materials, craft, etc. I can see that.

Yes, the chair gives us a model that teaches us to draw detail in a fine arts drawing class.

Yes, the chair has been experimented with by (almost) every design movement since the late 1800s.

Yes, all of that is true. But that doesn’t change the fact that too much of anything is just too much!

Enforcing so much importance on our study of the seat in all its variants has distracted us from other equally pervasive designed objects: the lamp is an obvious one, but objects like (today) the computer, the [smart]phone, the car (or other vehicles of transport), and even non-industrials like the poster, the book, and the trouser have gone unattended to.

The International Society of Typographic Designers offers students the opportunity to redefine the form of the book in one of its project briefs for 2012. The London-based publisher Visual Editions has taken it upon itself to re-envision the interactivity of reader and text from a material, tangible perspective. Yet few others have attempted to break down the established rules of what a book should be, when tablet devices and modern production processes give us unprecedented control and creativity when it comes to book design.

The personal computer had been almost entirely stagnant in form, and continues to live within the limitations of its peripherals, until Apple began to dismantle and reshape it over the last decade. Today, some would like to think that the new PC is the tablet device or the smartphone, but there is, undoubtedly, a plethora of possibilities (even if technology hasn’t caught up). Isn’t it the job of the designer to take things to new horizons?

The trouser, which I mention here as a placeholder for all fashion, particularly mens’ fashion, has been stagnant in its creativity: it either gets slimmer or baggier, longer or shorter, with fashion designers only really trying to experiment with materials, textures, patterns, and colours, never breaking down the form and structure of the object. Mens’ shoes are in even more limited capacity consistently remodelled into the same item. Even mens’ clothing creations are still pants, shirt, jacket, belt, shoe. Women’s fashion has, recently, broken (partially) away from convention, but the truly experimental still rarely influences the actual any further than in the lessons designers learn with regards to expanding their mind, thinking out of the box.

Transportation devices are those with least ingenuity, with the most radical being given the title of ‘concepts’ and never making it out of the laboratory. Transport innovators have worked towards enhancing infrastructures and aesthetics, sometimes reaching out further, but they have left the truly revolutionary to the engineers and technologists, rarely giving the car or bicycle a second look with regards to form.

Maybe I’m a bit obsessed. I’ve been doing a lot of reading on visual modernists and literary formalists that the structure and fundamental arrangement of things has become a bit of a peeve to me, but in this obsession I find a complete disregard for what could happen next.

Essentially, really, what I’m saying is not that all that I have suggested has space to improve. It is probable that some designers have devoted themselves to the construction of things besides the chair, and frequently enough for them to have made an impact in their circles. But design historians and critics do not seem to care, and that is the fault I am trying to amend.

So, help me. Tell me if you’re aware of experiments in form, and tell me if you know of writings about them. You have my email address.

I JUST WENT THROUGH THE ARTICLES I’VE DONE FOR QUINT SINCE I STARTED WRITING FOR THEM. IT STARTS WITH THE THINGS GRAPHIC DESIGNERS IN THE MIDDLE EAST STRUGGLE WITH (WHICH I NOW REALISE APPLIES MOST PARTS OF THE WORLD), GOES ON TO DISCUSS GENERAL MISCONCEPTIONS OR DEFICIENCIES WITHIN THE VISUAL-COMMUNICATION DESIGN SPHERE, AND EVENTUALLY FALLS TOWARDS THE CATEGORIES OF WHAT DESIGN INTERESTS I’VE FALLEN TOWARDS OVER THE PAST FEW MONTHS.

DESIGN ALEX VARANESE

The unusual foundation of engineering, dovetailed with his brief period in the world of video games had Alex emerge with a rare skill set and a sensibility that combines the futurism and orthogonality of digital technology with the wood-grain, lo-fi aesthetic of the 1970’s and early 80’s.

An extensive use of 3D in his work enables Alex to create lifelike depictions of architecture, product design and urban landscapes from scratch without photography.

His striking enthusiasm for the colour red has meant that a large majority of his work is created using warm tones and a palette selection that has become a trademark.

How long have you been a ‘digital image maker’?

Since I got a black and white Mac Plus in 6th grade. I grew up drawing by hand, but an interest in video games engendered an early fascination with pixel art that prompted me to take my artistic inclinations into the digital world as soon as I was able.

Your move from the field of computer science to illustration and digital art seems like a really rare occurrence! What inspired you to move from the very technical world of engineering to pursuing a less structured but more creative career?

To this day I maintain a pretty deep fascination with computer science and miss certain aspects of it on a regular basis. I had a kind of existential awakening one day, though, when I realized that anything I did as an engineer had a finite shelf life before it’d eventually become obsolete and irrelevant. Art, on the other hand, lives forever and needs nothing more than a receptive audience to justify its existence. Once a piece of software from a few years ago

Alex Varanese is a digital image maker from San Francisco with a huge passion for typography. His original background was in computer science, and after an intensive stint working in Silicon Valley he set about turning his hobby of digital art and illustration into a career.

BY ZAINA SHREIDI & SAMAR ALKHUDHAIRI

is upgraded or replaced, for instance, the original version might as well have never existed. On the other hand, people will be listening to The Beatles until the sun explodes. To me, that’s a profound difference. I like the idea of having a body of work that’ll live longer than I will.

Does your background in engineering ever effect, inspire, or influence your work now? If so, how?

Yeah, more than I’d like it to sometimes. Almost everything I do has a sense of geometric orthogonality or manufactured edge to it, and my fascination with technology (especially the obsolete stuff) is evident in a lot of my artwork.

Tell us about your stint in video games!

I never worked for the kinds of companies you’d have heard of, but I contributed to a lot of behind-the-scenes stuff and in the educational part of the community. As an actual video game developer, I did my best work independently. Creating an entire video game from scratch, though, is an enormous amount of work, and consequently I have sadly little to show for my time spent in that world.

What are you favourite video games – both aesthetically and just to play?

One of my all-time favorites in terms of both art direction and playability is an old, semi-obscure title called “Out of this World” (known outside of the US as “Another World”). It was created almost single-handedly by a guy in France named Eric Chahi, and the animation was generated by rotoscoping live action video of him and his brother acting everything out themselves. The

18


20

combination of totally lifelike movement with the low-resolution graphics of the early 90’s produced an absolutely astonishing visual style that I’ve never seen replicated since. It’s definitely worth looking up.

Do you use your talent as an illustrator and digital designer for commercial work as well?

Yeah, my site has a dedicated section for client work. While my only real goal as an artist is to create abstract work for the sake of doing so, I’d definitely rather make a living lending my techniques to clients than sitting in an office somewhere.

What was the reaction from your friends/family when you moved from a career in computer science to being an artist full time?

I’d been drawing since I was a kid, so it made sense. I’d also been dabbling in freelance graphic design work for years on the side, so it was less about switching careers full-stop and more about realigning my priorities.

You’ve mentioned and I’ve noticed as well that you favour warm colours in your work. Why do you prefer those colours and did you set out to distinguish your work through the colour palette you chose or did it just come about?

It actually was a conscious decision, interestingly enough. My current body of work really “began” in September/October of 2008, after years of trying (and failing) with other techniques, styles and mediums, and the advantage of having such a well-defined starting point was that I had the chance to actively set my own styles and trends from the outset. I’ve always loved red, but noticed the comparatively sparse attention it gets from designers who seem to default to blues and greens almost as a matter of course. There’s something about the richness and intensity of red, though, that made me want to embrace it as deliberately as I could. I just though it’d be cool to look back on an entire body of work and see almost the same palette repeated throughout.

As a kid, did you draw and doodle a lot? If so, what were the common themes? What really inspired you to start illustrating?

Yeah, I can’t remember a time in my life when it wasn’t a focal point on some level. I guess when a particular fascination goes back that far it’s hard to pinpoint a reason behind it. Again, though, video games were a major contributor; even in the clunky, low-resolution days of the original NES, video games were like a portal into an alternate universe to me. I didn’t need the ultra-advanced 3D hardware of an XBOX 360 to feel immersed, and I wanted to master the skills that, to me, enabled the creation of alternate realities. That all began with drawing.

A lot of your work is related to music, and some of it also recalls the 70s and 80s with old record players, boomboxes, and cassette tapes. What inspired you to create these pieces?

Growing up I had an aversion to all things retro. I was consumed with my vision of the future, which was sleek and fluid to an almost inhuman degree. As my life shifted from engineering back to art, though, I simultaneously discovered the world of indie rock and saw how much more interesting things are when they’re imperfect, incomplete and rough around the edges. The idea of storing music in a distributed cloud and wirelessly beaming it to your wireless device is cool and all, but there’s no substitute for the sound a cassette makes as its being loaded into a tape deck. It’s just so much more satisfying.

What sort of music do you like? Are you also into music from the 70s/80s?

Indie rock sums it up most broadly. I have an encyclopedic appreciation, though, for 80’s new wave, synthpop and even teenie bopper stuff. Everything from Duran Duran to Belinda Carlisle. I especially appreciate bands that have managed to remain relevant through to the present, though, like Depeche Mode. Other than that it’s the usual suspects: Arcade Fire, Sufjan Stevens, Feist, you know the drill.

I like that your work varies a lot, from illustration to 3D hyper-realistic representations of architecturetofuturistic photographs mixed with digital art. What techniques and mediums to you prefer? How do you learn and work with new techniques?

I’ve carved out a pretty comfortable niche blending 3D with more traditional elements like typography. So few other “designers” seem to be doing that, while dedicated 3D illustrators—even the truly great ones—seem to have an almost non-existent sense of design. Doing my best to bridge that gap is both personally satisfying and a useful trademark. I just want to avoid the cliché of basing my work around stock media like photographs. It lets me follow my own ideas to their conclusion, rather than constantly reacting to something created by someone else.

What are your favourite subjects?

If I could do it all over again I’d strongly consider dropping design and studying linguistics.

What do you think of the fact that pretty much everything is available online – including lots of “art”? Do you think it’s a good thing that so much is available or do you feel that the market is getting saturated?

Good or bad it’s inevitable. Future generations will look back on the ages when information was as hard to find as it was for people like our grandparents and wonder how anyone got anything done. I think the ultimate fluidity and ubiquity of information we’re moving towards will be the single biggest factor in producing the “future” we’ve been seeing in sci-fi movies for so long. As for the excessive amount of design/music/animation/film/illustration/whatever available on the internet—most of which isn’t particularly worthwhile—it doesn’t change the fact that, like always, good work eventually finds an audience and bad work doesn’t. If anything, it just drives the standards higher, and I think that’s a good thing.

Where do you look for ideas and inspiration? Are there any particular artists, websites, blogs that you like to look to and what are they?

Behance.net is probably the best. Truly good work exists in virtually limitless supply there, and the variety of genres and media is remarkable.

What would you like to achieve in the next few years?

Moving from a producer of static design and imagery to a storyteller that works in a more animated and auditory format. No matter what I do, though, design will play a fundamental role in it.

To view more of Alex’s work you can check out his websitewww.alexvaranese.com

Alex is represented by ‘Jules Beazley Represents.’ To commission Alex, or find out more information please visitwww.julesrepresents.com or email [email protected]


22


24


26


28


30


32

Saif Chilmiran was first brought to our attention through a mutual friend. and the way he described him definitely rings through. He told us how this guy is so talented, yet so down to earth, and truly one of the most talented and fun artists he’s come across. Eager to meet Saif, we headed to ProArt for their street art exhibition. Saif’s work graced the walls alongside (in)famous greats like Banksy and he definitely held his own.

We caught up with Saif to discuss his rise to fame. He talks to us about materialism, 90s cartoons, and why we shouldn’t watch so much Aljazeera.

DESIGN SAIF CHILMIRAN

34

How did you start getting into creating artwork?

Ever since I can remember I always used to draw on my walls with Crayolas and colouring pencils, then in school...I never really gave any attention I’d just sit in the back and sketch and then in ‘03 I laid my hands on my first spray can (black colour). Ever since I was hooked on it, feigning the arts.

Do you have any formal training or are you self-taught? No, no formal training. As a matter of fact I used to get D’s and C’s in art class. I just lose interest when anything has a deadline. I’m self taught.

What effect (if any) has this had on how you create work, or on you as an artist?

The lack of proper and many art resources was a very big inspiration to me. There’s so little that I could find around me, the shittiest spray paint that comes in like 5 colors only, bad paint, lack of artists to learn from, etc... All of this actually helped me a lot, I had to be creative and use what little I had around me in ways the stuff isn’t intended for. I’d use sponges for filling in graffiti pieces with wall paint, burnt cigarettes instead of charcoal, and much more.

Which mediums do you prefer working with?

I love walls and spray paint, it’s what I started on and graffiti is what I came from, but I never took interest in the whole graffiti “game” I just did it and still do it for self joy and entertainment. I also love canvas so much, because on a canvas I’m not limited, I can experiment more, try to perfect more, take all the time I need, on canvas I’m not worried about getting arrested nor on the lookout. Either way both mediums target different audiences which I’m really satisfied with.

Many of your pieces have pop culture references, what peaks your interest in pop culture, cartoons, etc?

That’s true, I do love using cartoons a lot and I’m not doing this to be a pop artist, people like Andy Warhol don’t interest me actually, but I use cartoons because it’s a personal thing, it goes way back to my childhood. As a child I hated cartoons, and now that I grew up and observed and lived longer, I came to see that cartoons raise our kids, not parents, not schools, but cartoons do. The kids, they eat, sleep, talk, walk, behave like the cartoons they see and cartoons are a money making business with a few men in suits behind it, they have no interest in the children’s future or impact.... They just want to make money and honestly speaking I want grownups now to watch the cartoons we used to watch back in the 90’s - shit like Courage the Cowardly dog, Cow and Chicken, and so on....it’s really fucked up! Anyways when I do use cartoons, I try to show the truth behind them and their filth.

What were some of the challenges you faced initially?

The worst challenge was “you should keep art as a hobby”. If I listened to what my parents, most of my friends, teachers, and people said, I’d still be where I was in 2nd grade. But I refused, hobbies are a side time-kill you enjoy, I like playing the piano, its one of my hobbies and because of that I’m pretty shitty at it. Art is not a hobby or a job title...it’s a life I live, it’s a world I see. Another challenge was sacrificing, I had to accept that art won’t make me rich, no nice cars and big houses, it took over my social life, very big chance I’ll end up poor, I lost interest in all the materialistic luxury things, I see things differently, took my focus from my education, I’ll be labelled as the “weird one” and the list goes on and on, but I’ll tell you this...it was so fucking worth it, I love what I do and I’d never trade it for anything else.

How has the sudden surge of success and acknowledgement been?

I don’t like to call it success, if my art plays an important role in a cause or helps someone or makes a positive impact on society....that’s when I’d call it success. But entering the whole gallery world, making a living out of it and being appreciated and acknowledged helped my art a lot in many different ways.

Becoming appreciated and acknowledged inspired me a lot, it made me realize I worked for something over the years and people appreciate it. It made me content with my life. Making a living from it helped a lot, I don’t really bother with the whole battles people have over artists “selling out” but being able to eat from my art meant I wont have to kill 8 – 10 hours every day from my life doing a normal repetitive routine job sucking my energy and life from me and hating my self. Now I have the whole day to work on my art and my art only. Also getting into galleries helped me see other artists and their work, helped me understand how my work could be more professional and how to make my artwork live longer.

Tell us about your relationship with ProArt, and how working with a gallery contrasts to working on your own.

ProArt was the first gallery that I entered. After they viewed my artwork and liked it about a year ago they started exhibiting my work. They helped spread my work, with all the aspects of framing and presenting my art work, get my name around to a different audience than illegal graffiti would, sold some of my art work and they eased opening doors for me. They have a vast diverse collection of arts from Picasso’s to Dali’s to Roy Lichtenstein’s and so on. But what they did is they gave a big interest in street art and are the first to ever have a street art exhibition in the UAE and their collection is really strong from artists such as Banksy, Shepard Fairy, Blek Le Rat, Faile, Seen, and other strong names and what ProArt was able to do was present my artwork amongst those names which really really REALLY motivated me, I was able to study, learn, and present with these artists. I’ve had a couple of other galleries who wanted to work something out with me but I’m going to stick with ProArt since they have a dedicated passion to my line of arts and have done a lot for me.

Do you plan on staying based here in the Middle East or do you want to travel and dive into the international art scene?

Oh I’m definitely going to dive in the international art scene, I’m not sure where I’m going to be based but I was in New York and Philly this summer and the art there is just.....beautiful and strong. And I’m taking my chances and moving there in the near future.

What do you think of the UAE and Middle Eastern art scenes, as well as the artists driving the scene here?

The art scene is diverse in the Middle East but some of the issues that bother me are censorships. You see if an art piece is very political, offensive, sexual, disturbing, and so on it wont be allowed to be exhibited, and I’m sure all artists want their work to be displayed for many people to see. But I mean that doesn’t stop me from painting what I want, if let’s say it’s “too political” well fuck I don’t care I’m still painting it. Another problem with the Middle East is there’s such huge potential and many MANY talented artists but almost none get recognition or appreciation, we’re too busy watching Aljazeera.

What do you aspire to achieve in general withyour work?

The best way to explain it is by Ernst Fischer’s words “In a decaying society, art, if it is truthful, must also reflect decay. And unless it wants to break faith with its social function, art must show the world as changeable. And help to change it.”

The recognition of your work and your amazing rise in the art world has occurred in less than a year! That’s really exciting, and I’m sure a tad overwhelming. So now the foundation has been set, what do you aim to achieve in 2012?

Well it kicked off a year ago but really it’s been years and years of just painting at home or on the streets, it is pretty exciting I’ll admit to that. This year I’m aiming to have my art work reach Europe, also I’m studying and doing research on the chemistry behind paint, the scientific aspect of it haha it’s really interesting though. I also want to experiment with more forms of art.


36


38

Rebecca Rendell’s work has the power to amaze and entertain. Her use of size, intricate shapes, and the contrasting and clashing tex-tures has the power to pull even the laziest of eyes to her canvas.

Working in Dubai, Rebecca realized her calling was fine art from the age of 16. Since then, she has bagged herself a degree in Art from Southampton University, working in fine art with added emphasis on textiles. After graduating, Rebecca worked as a studio assistant for such established artists as Damien Hirst.

She graced our sandy shores in 2008, originally finding work as the studio and gallery assistant at Tashkeel, a creative hub and gallery space. Now a full time artist, Rebecca produces her work in the same studios she once took care of.

In a few short years, Rebecca has been awarded more than a few accolades, including the Sheikh Manal Young Artist Award in 2009, which let to an exhibition of female artists at the United Nations headquarters in New York. She also has a series of large artworks on permanent display at the Yas Viceroy Hotel in Abu Dhabi.

Rebecca has also taken part in a number of international group ex-hibitions, and recently had her first solo show here in Dubai. She is currently focused on producing a new body of artworks that will be developed during her Artist in Residence project at JamJar gallery, between February 26 and March 31.

DESIGN REBECCA RENDELL

40

What techniques and mediums intrigue you most?

I have real admiration for any hand created craft, and I also get excited about new technologies. I suppose a combination of old and new is what gets me most. I particularly enjoy textile techniques, and I love to use a traditional method and adapt it to create my own rules and outcomes.

How did you come up with your latest series, Tensionof Balance?

Having had a background in fine art and textiles, my experience with weaving has a heavy influence on the concept. It is the weaving loom that fascinates me more than the fabrics created from it. The tension necessary to create the perfect consistency while weaving is an element I have chosen to develop further in my studio practice for the upcoming residency. In my mind, the idea of balance is something essential in all walks of life. My interest, in terms of a sculptural series, is with the tension necessary to create balance between solid objects.

What drives your interest in symmetry, balance, and patterns (as in The Continuous Cycle)?

I have always enjoyed mathematics and textiles, and this has definitely influenced my pattern making, with repetition, rhythm, control, and order all playing important roles in my work. I love to study nature and the relationships between art, ecology, and geometry, and I find naturally occurring patterns fascinating.

My current solo exhibition, ‘The Continuous Cycle’ (Jan 31 to Feb 28 at Tashkeel) includes a variety of pattern based artworks produced from found materials, executed as minimal and often symmetrical wall installations. I love circles and cycles, the idea that everyone and everything plays a role in maintaining an essential balance on this planet is what drives me to create work of this nature.

As an expat artist living and working in the UAE, how do you feel about the community here?

I was very fortunate to discover Tashkeel (tashkeel.org), a unique hub for creative professionals, and an essential element in the UAE art community. It is a place where I have felt consistently supported and encouraged to develop myself independently.

If I could change one thing out here, it would be to lose the new fashion for vanity galleries; it is challenging enough for artists to support themselves without having to pay gallerists on top of the commission they receive.

March is a huge month for art in Dubai, with fairs like Art Dubai, the new Dubai Design Days, Sikka Art Fair and numerous other events and workshops. What are you most looking forward to? Any particular artists whose work you’re excited to see?

I’m looking forward to checking out the exciting residency project taking place in Bastakiya. Art Dubai, in partnership with the Delfina Foundation, DCAA and Tashkeel, has launched the 2012 program of local and international artists, Hadeyah Badri, Fayçal Baghriche, Zeinab Al Hashimi, Magdi Mostafa, Nasir Nasrallah, and Deniz Uster have been selected for the three-month residency in the lead-up to Art Week. All six artists will be exhibiting as part of an Open Studios programme included in Sikka Art Fair during Art Week and Baghriche, Mostafa, and Uster have been commissioned to create new work for Art Dubai, which I’m really looking forward to seeing.

How important do you think technique is in a piece of art, as opposed to a strong message, and little technical or creative effort?

Like many artists, I love to manipulate materials with my hands, this is always accompanied by concept ideas - together this process makes my outcomes what they are. I don’t believe there is right or wrong when it comes to the process of making art; it is just an individual creative expression. I simply know what I enjoy to make and see made, and usually artwork that is created by a laborious or innovative technique gets my interest, especially if it is accompanied by a message I can relate to.

For more information and to see more of Rebecca’s work check out: www.rebeccarendell.com

My intention was to capture the beauty of oil slicks left by vehicles on our roads and in our parking lots. I felt that although beautiful on one hand, it makes you think of what it’s doing to the environment.

What I found out was that these slicks are fleeting and have to be captured at precise moments in time. They change and disappear into the ground or wash away into the sewers. That they only show after it rains and are only present for a short time. What that meant was that I had to take my camera with me when the weather was bad and be ready as soon as the rain stopped.

When the rain is coming down they are unseen and only arrive when the rain subsides and then only for a few moments. Most peo-ple put their cameras away when the weather is bad, but that’s when I went into action.

To shoot the subtleties of these slicks you have to catch the light at the right angle and have your stop wide open or they won’t show up. As with any subtle atmospheric psychological feature such as rainbows, mist, light rays peaking through clouds, you have to shoot wide open to capture the event. Closing down your iris is equivalent to squinting and you loose the fine definition of the phenomenon. This meant I had to cut the light when it was too strong with a polarizer.

I love every day occurrences that most people take for granted. I love seeing common objects in ways most people don’t. I love the fact that each oil slick is like a snowflake in that it is unique and different from any other. I really liked when the slick would look like a Hubbell space picture or would have characteristics of something totally dif-ferent, to make people look at it and wonder. I tried to incorporate every day objects in some of them so at first glance it would look like a deep space galaxy, then on closer inspection you see a cigarette butt or tree leaf sitting there.

Since I worked and had to shoot only in the brief moments after a rainstorm this project took several years to accomplish and be satisfying. It was pure, abstract, and deliberate all at the same time. I wanted to do something different, artistic, and thought provoking. I’ve always been into reflections and multiple images within a single capture, this led me to the oil slicks and their unique nature.

PHOTOGPRAPHY THE OIL SLICKS

42

3 SISTERS

BIG EYED DEEP SPACE FISH GALAXY


CALIPTO OMICRON

COLOR WOMB

44

COLORFUL CRAB NEBULA

GASSIOUS MATTER APPROACHING THE RED PLANET


HEART OF DARKNESS

HEILLOS SPHERE COLOR BARRIER

46

LEAKING SPACE

SLIPPERY WHEN WET


SPACE JUNK

SPIRAL CYCLONIC SHOCK WAVE

48

SUPER MAGNETIC NEBULA

VERY CLOSE ENCOUNTER


50

TERRA SEIGE

PHOTOGPRAPHY IGA DROBISZ

52

Born in Bialystok, Poland, Iga Drobisz is in many aspects the perfect example of a ‘Jane of All Trades.’ Coming from an artistic background (her mother is a dancer/choreographer and her father a lyricist/musician) the creative potential of the 20 year old photographer and model was bound to be seamlessly carved in her genes.

She first found her passion for taking photographs at the tender age of 13, when she received a basic camera from her grandparents as a present. Iga was immediately hooked and drawn to the telltale candidness of street photography as well as portraits of diverse human subjects –especially children. “When I was 13, I knew I wasn’t doing ‘Photography’ yet, per say. It was more of me just taking photos but it was a start to where I am now.”

At the age of 16, she felt that she could no longer progress with the equipment she had at hand and therefore decided to get into modeling to finance her growing appreciation for the visual art. And thus her modeling career was born.

Having never officially studied photography nor ever picked up a book about learning the skill, the self-taught photographer says that her talent is owed to endless hours of trial and error and through keen observation. For her, first-handedly learning through other people is what makes it all enjoyable. “I consider myself a polite and well-mannered girl but when it comes to my own shoots I unexplainably seem to transform to this different person; I shout and swear excessively when I’m overjoyed! I guess I just get too passionate sometimes.”

It’s interesting to hear that you have never received formal training whatsoever; not even self-help books! Is there any reason behind this?

I’m a person of action. I prefer to do things, learn by mistakes than read about all the technical aspects. Although I browse lots of different photographers’ works, like albums, magazines, portfolios and so on… I question my friends a lot as well. I prefer to learn from other people, and to reach the conclusions together.

How can you describe your aesthetic as a photographer in the most concise way possible?

Less is more.

What is your creative process and how do you come up with ideas for your shoots?

It varies. There are many elements to an ‘interesting’ photograph. Most of the time I find just one of those elements and the idea grows organically from there.

Do you specialize in a certain theme or subject?

I’d say I specialize in people although the theme changes due to the different people I encounter on my travels.

I noticed a reoccurring dreamy/nostalgic theme in your work. How are these inspired?

My friends say I’m ‘dreamy’ myself so it must be something about that.

Well I’ve heard about people dreaming things and actually emulating their dreams through their photos. Did that ever happen to you?

Childhood/sisterhood, being surrounded by forests or countryside are often subjects of my dreams. You can find some of those in series “Affinity”, “Innocence” or “Helen’s novel”.

How does it feel like to know the two sides of the coin: being a model and also being a photographer in your own right? Does it give you an advantage? Which do you prefer?

My place is definitely behind the lens. As a model I have the opportunity to meet all those stylists, editors, photographers…models as well! Basic knowledge about lighting and perspective helps me to pose.

Have you worked with any influential or famous photographers/people in the industry?

I worked with Oskar Cecere and Emilio Tini. Even though/despite the fact they’re very successful, I haven’t experienced any sign of pushing or bossing around. (Actually this is what people do when they feel insecure in their positions…). Both charming, focused on their visions, created a friendly and kind of congenial atmosphere. It was a pure pleasure having the opportunity of being part of their creative process.

With all the things you do, it is easy to assume that you are a very driven person and dare I say, even slightly radical. What are your beliefs and convictions as an individual? Are there any other devotions or causes that are close to your heart?

I must admit that I’m a little health freak… Yoga

is a very important part of my life. It’s a long time since it’s not only physical exercises. It’s a lifestyle, it’s a philosophy…

This might be a curious one but I do wonder. What do you do when you are not having a shoot, modeling, or working in general? Any favorite way to unwind or perhaps a routine that you live by?

Whenever I have some free time I dance and stretch or have a walk, explore places. Simply lying on the grass/beach/floor is good too!

You mentioned that you did your first ever proper ‘fashion photography’ shoot in Dubai recently. What made you decide to foray into that specific field and why do it in Dubai?

I think it’s very difficult to turn a fashion picture into a piece of art. And I like challenges.

Also I wanted to develop my photography, play with colors, forms…mix and match with these both. I wanted to keep on learning how to work in a team. That was always tough for me, since I was in nursery, but I think I’m slowly getting into it. I appreciate meeting people that you can rely on, that inspire you…like Antonia Malt, make up artist, and Gosia Golda, models’ agent. I’m really thankful for their support that makes me feel comfortable and safe in Dubai. The weather’s always good, that’s important as well, isn’t it?

What is the most intense or touching instance you have experienced through photography thus far?

I have arachnophobia and once I was shooting a huge spider in Singapore. I was shaking and I had tears in my eyes, I thought I would faint any moment. That was intense. I had to lie down after it all. The series is called “Dans mes mains”.

As this is a quint interview, I would like to end this chat by asking you to name 5 things you think every photographer should possess.

Lots of patience, perceptiveness, intuition, sense of colors and composition, one camera.

Check out more of Iga’s work at:www.igaphotography.com


54


56


58


60


62

PHOTOGPRAPHY BARNA SZOKE

Barna Szoke is a Hungarian Digital Art Director who has a passion for wildlife photography. As a teenager, Szoke picked up his father’s old camera unknowing of how dedicated he would soon be to photography. His love for observing animals in their natural habitat, combined with his appreciation for beauty inspired him to become a talented wildlife photographer. Szoke gives us interesting insight into the beauty and challenges of wildlife photography.

BY ZAINA SHREIDI & FARIS AL GHUSSAIN

64


When was the first time you picked up a camera, and did you know then that it would become such a big part of your life? Also, what was the camera and what was the first picture you took with the mind frame of a photographer?

I was a kid, around 14 or 15 years old, when I first picked up my father’s old Zenit. I certainly felt something special, but I didn’t know that one day taking photographs would be my passion. I bought a few rolls of B&W film because that was the cheapest and started to take photos of everything. I had a few good pictures, but that was all and the new computer age easily took my focus off of photography.

What inspires you to take a photograph?

The beauty and the challenge. I always loved nature, and I always loved to observe animals in their natural habitat. In my opinion nature produces the most beautiful things, but never gives anything for free and when you are trying to take photographs of birds, it is a true challenge to get close enough without disturbing them, while also keeping the quality up.

What do you think are the most important elements of a good photograph?

First of all an interesting subject, lights, composition, and a carefully selected background. In my case the subjects are usually birds, because they are extremely hard to reach and their life is so interesting to me. Lights, because without proper lighting there is no photograph, only a simple picture. The composition, which is so often neglected, but so important for the human brain in order to perceive a photograph. A background, which will support the earlier mentioned, and will help to keep the viewer’s attention on the subject, while remaining natural.

How important are the tools you use to the workyou produce?

When I’m on a “mission” I need a car to be able to carry everything I need. I guess that says it all.

You are an amazing wildlife photographer. How did you get into shooting images of animals in their natural habitat?

As I mentioned earlier I always loved nature, to be out in the wild, observing the life around us. In the beginning I just had general equipment, no long lenses or tripod, so whenever I took a picture of an animal I ended up with photos where only I knew that there was an animal in it. So I got frustrated and started to purchase equipment and I went out more and more often to the forest or to the lake to capture something interesting.

What are some of the challenges of wildlife photography?

The biggest challenge is to get close enough to the animals without disturbing them or their natural habitat.The weather… and I’m not only talking about rainy, cloudy days when there is not enough light to take nice photos, but boiling hot days in the middle of the summer spent in a tiny tent dressed up for the chilly morning.

Hiding in that tiny tent (IKEA kid’s toy tent). Sitting or lying for 14-16 hours in there virtually motionless and of course going to the toilet during these hours is also a bit of a challenge.

How long (and what) did it take you to ‘master’ wildlife photography enough to feel confident in your work?

A couple of years of researching, experimenting, and a ton of money spent on equipment. And of course every time I decided to shoot

a new subject, basically I had to start over. Observe that specific animal, learn its habits, find the best location for my hiding place etc. Once I had to wait for a year just to be able to relocate my hide, because I found out too late that when the vegetation grows back after the winter my background is too messy and I can’t take the photos that I wanted to take.

Who are some of the photographers who have inspired or influenced you as an artist?

Bence Máté a young and incredibly talented Hungarian wildlife photographer. His enthusiasm and creative solutions should inspire any other photographers. And of course my good friend Daniel Seer, who was a long time partner in planning and executing photoshoots. His clean and perfect style helped to develop my own style.

What other disciplines of art influence and inspire you?

Since I’m a Digital Art Director, digital art and creating digital experiences are very important for me. It is kinda similar to photography because it involves a lot of planning before you have the chance to execute. Of course I don’t have to hide when I’m designing a website, although sometimes that would help. And of course I love music. I’m an amateur bass player.

What is your opinion on the growing legion of DSLR wielding noobs with little to no professional knowledge calling themselves “professional photographers”?

To be honest I was one of them. Ok… I didn’t called myself a professional, but when I bought my first digital camera I was literally wielding my camera all day and took photos of everything. I think a lot of us started this way. Those who are keen, have the patience and some talent, those might create something amazing. The rest will simply disappear.

What advice would you give to an aspiring photographer?

Whoever says it, don’t ever believe that you are good enough! Always try to improve.

Biggest lesson learned?

-18 degrees C is very cold. Wear more clothes!Ohh and also don’t stand on the ice until you know it’s thick enough.

Are you a full-time photographer? If not, would you like to make that transition? Why or why not?

I’d only become a full time photographer for an organization that would let me do what I love to do, taking photos of wonderful nature.

Who or what would you like to shoot (with a camera, ha!) that you haven’t already?

There are Ospreys (sea hawks) living on the Bu Tinah Island close to the UAE coast, I’d really love to take photographs of those birds.

What are your essential photography tools?

First of all my camera of course, my long lens, my tripod, my bag and my car. My car because without that I couldn’t carry all the other essential tools I need with me. A tent, a lot of camouflage textured sheets, rope, my machete, rubber boots, warm clothes, food and water at least for a day, binocular, flashlight, batteries, all my other lenses, extenders, 2 flashes, memory cards, my notebook, and my old camera.

66


68


70


72


74

I LIKE YOU.HOW UNLIKELY.I LIKE YOU.HOW SLOW ALL OF A SUDDEN.

I find myself thinking about this film very often as of late. Not watching this film is like not eating a fresh peach. You should see it, if you haven’t. And then, once you have, let it sit awhile, until right before too long, and see it again.

FILM & THEATRE HIROSHIMA MON AMOUR

76

Alain Resnais’ Hiroshima begins with an embrace bathed in glistening particles of sand, dust, or gravel. Then, faces turned away at the hospital as violin gives to choreographed museum walkways. Unnamed lovers recall their Hiroshima. She, played by Emmanuelle Riva, describes the exhibition of shattered debris, charred remains, and the temperature of the Sun. He, played by Eiji Okada, reminds her in a marked accent that she has never seen Hiroshima. She describes newsreels and film re-enactments; bodies maimed and broken, bodies frozen in the rubble, bathed in glistening particles of sand, or dust, or gravel. She goes on to illustrate history’s narrative as the lens of the West, to which he retorts, “No, you do not know what it is to forget... You are not endowed with memory.” Twelve minutes in, linear narrative has been efficiently teased asunder through a series of images oscillating between intertwined lovers and Hiroshima, after. Notions of deterministic history and its quota of legitimacy are frustrated. What follows is for me the film’s hallmark for Marguerite Duras’ remarkable screenplay:

{20092}{20187} I meet you. I remember you.{20202}{20241} Who are you?{20245}{20327} You’re destroying me. You’re good for me.{20337}{20432} How could I know this city was tailor-made for love?{20450}{20560} How could I know you fit my body like a glove?{20577}{20608} I like you.{20612}{20660} How unlikely.{20665}{20712} I like you.{20720}{20780} How slow all of a sudden.{20790}{20842} How sweet.{20847}{20902} You cannot know.{20915}{21007} You’re destroying me. You’re good for me.{21152}{21232} You’re destroying me. You’re good for me.{21267}{21306} I have time.{21310}{21397} Please, devour me.{21410}{21495} Deform me to the point of ugliness.{21512}{21552} Why not you?{21567}{21686} Why not you in this city and in this night{21690}{21765} so like other cities and other nights you can hardly tell the difference?{21782}{21832} I beg of you.{21885}{21950} You have such beautiful skin.

And then, the film arrives in bed with our unnamed lovers. The passage of time is now unlike before. This space of lived or experienced time passes not with events or numbers but rather with touch and intention. Oscillating between this highly affective mode and varying registers of narrative and recollection, Hiroshima weaves endless labyrinths that seem to unfold and in-fold ever so easily. They roll around in bed. He smiles. She tells him that she is in Hiroshima to act in a film. So unbelievably meta. This is really a thousand films.

Emmanuelle Riva is stunning here in her role of the West. She is the vessel for the scars of history, even going so far as to believe she has learned from them. Is the narrator of history newly gendered? Or is she here to account for his failures once again? In spite of everything, she cannot help but project her lost ideals upon him (Eiji Okada). These ideals have new vigor and new danger now. Is she, the West, post-colonialism incarnate? She is certainly reluctant and self-defeating enough. Her fetish for Orientalism has not diminished. She desires him, the East, immensely. Perhaps she is now simply more self-aware. As cinematic device, she has become melancholic. She can only continue Leading him through the night, she hopes he will stop her, kiss her. How can he, when she has already catastrophically destroyed him? Her embrace is at once the embrace of war, of Louis Vuitton, of éclairs and of the Impressionists, of the erasure of memory, and it is a sincere embrace. Eiji Okada is inevitably portrayed as looking always longingly towards her. When he speaks, all of his words are for her. In his fine array of suits, he chases her with pointed features. He is captivated by her. He has just as sincerely fallen in love with her. How could he not? They kiss as he presses her on to a wall of books in Japanese. He holds her hand through a parade of anti-war protesters assembled for a movie, assembled for a movie. Translation is violent. Resnais plays with this at every possible turn, and the film is exquisite for it.

{110050}{110101} Deform me to your likeness,{110105}{110186} so that no one after you will ever again understand{110190}{110260} the reason for so much desire.{110302}{110377} We’ll be alone, my love.{110385}{110432} Night will never end.{110447}{110526} The day will never dawn again on anyone.{110530}{110605} Never again.{110610}{110655} At last.{110867}{110925} You’re still destroying me.{110942}{110997} You’re good for me.

Further reading:Reni Celeste on ResnaisHiroshima by Marguerite Duras

FILM & THEATRE PANS LABYRINTH

78

I’ve always had a deep rooted fascination with dark themed fairy tales, whether it be a novel like Frances Gordon’ ‘Wildwood’ (which is your modern take on ‘Little Red Riding Hood’), the TV series ‘Game of Thrones’, the dark and twisted video game version of American Mcgees ‘Alice’ or the ever so beautifully incarnated and haunting film ‘Pans Labyrinth’ by none other than the master himself, Guillermo del Toro. When I had first come upon the trailer prior to its release in 2006, I knew it was going to leave its mark on me. It did. I got my hands on the (original) DVD and have watched it at least 12 times ever since. Del Toro is a genius in my opinion. He has the gift of sparking a viewers imagination through his story telling and cinematography, and it is no surprise that Pans Labyrinth went on to achieve the accolades is so rightfully deserved. I’ll put aside my oh so very biased views for now and instead give you an idea of how empty your existence has been so far if you have not made the effort to lose yourself in this epic fairy tale. (Spoiler alert... but I don’t care)

The film starts with a haunting lullaby (which you will be humming out loudly for days after watching the film) and a deep males voice narrating the story of a King and a Princess from the underworld realm. The scene is grim and quite daunting in its own respect, but ironically enough, there is no pain or sadness within this realm. We go on to learn that the princess is a rather rebellious one who dared to release herself from the shackles of the calm darkness she lived in for the blue skies and wonderful sunshine of our world. Once outside, the sunlight causes her to lose her sight along with her memory. This eventually leads to a suffering she had never endured and so the Princess dies. As with all fairy tales, the opening scene is one of grand drama with this one in particular drifting a little into the dark side. We are then introduced to the main character of the film. A little girl by the name of Ofelia (Ivana Baquero) and her pregnant mother. The setting is 1944 when the Spanish civil war had come to its demise 5 years earlier. Ofelia comes off as a fragile but yet curious girl thrown into a world of war and terror. Her stepfather, Captain Vidal, is set out on eradicating the Spanish Maquis who are in return fighting the fascists Spanish army. Captain Vidal (Sergi López) is a heavy handed and brutal character and it is obvious that his only concern, other than gruesomely murdering anti-fascist detainees (and I mean GRUESOMELY) is fathering his unborn child.

Along the way, Ofelia comes across a stick like insect she believes to be a fairy (If I were ever witness to such an abomination I would first cringe then make it a mission to

destroy its very existence) which leads her to a nearby ancient Labyrinth. Now before I go on with spoiling this film for you, it must be noted that del Toro has a rather enchanting way of creating scenarios that many of us fear. From mammoth sized mazes and glooming shadows to gut wrenching cat sized underground tunnels. Throw a little girl into the picture along with a handful of demonic looking creatures that are either guiding her to a destiny she is oblivious to, or attempting to dismember her to make her the main ingredient of an evening stew, and you’ve got a film that will constantly explore the inner kingdoms of your distressed soul. When in the Labyrinth, she is approached by a Faun who believes her to be the princess of the underworld realm. She is handed three tasks to complete before the next full moon so to keep her “essence intact”, and Ofelia, without hesitancy, takes upon these tasks. I would love to emphasise on how frightening and beautifully laid out these tasks are but that would be quite inconsiderate of me.

Ofelia’s pregnant mother falls ill which notches up the intensity level. Intimidating tasks with a limited time to complete them, a terrifying and unpredictable Faun prophesising the return of a princess, a vicious step father who wants absolutely nothing to do with a child he’s not fathered, a war between the fascists army and the ant-fascist rebels that’s growing considerably out of control and an ending that will have your emotions in a satisfying tangle.

I would sincerely love to delve deeper into the story but feel like I’ve set the foundations of intrigue. I suggest you pick it up and give it a chance if the genre appeals to you. Guillermo del Toro has re-ignited my passion for fairy tales in ways that Tim Burton has failed to do so. Don’t get me wrong, I have a lot of respect for Burtons work, but del Toro manages to reach out to the inner child in all of us. He tell us a human story through the world of imagination and melancholic dreaming. I’ve a personal collection of films he’s either written, directed or produced, and each one has its unique impact on me. Should this article miraculously awaken your incoherent soul, then I suggest you also spend some time on del Toro’s other films I’ve listed. You won’t be disappointed.

• Cronos (1993)• The Devils Backbone (2001)• The Orphanage (2007)

On every assignment, no matter how seemingly mundane or apparently impossible, you try to create those “signature” moments. Those indelible images that capture the essence of the assignment and stay with you long after the photo has passed from view.

So often they are the moments that required no producer, no crew, no stylist, no makeup, and no fancy equipment. They happen despite all the preparations. Or in spite of elements that appear suddenly as friend or foe. Clouds. Rain. The wind-chill factor. A blown fuse. Hostile locals. Agitated security…

And then, just when things look their darkest, the light changes, the mood shifts, a window opens, someone nods. You coax a smile from the man in charge and suddenly, something wonderful is captured. Truth. Beauty. An emotion. A look. That moment. To get it, you have to stay positive. And prepared. And why not? You’ve been there before: Run aground in the Bahamas. Cameras confiscated in Luxor. Questioned in China. Arrested in Moscow. Lost in the Abu Dhabi desert. Tossed by the seas around Cape Horn.

They all led to moments like that magical night in Dubai when the Bedouins opened their tents to share desert tales and sweet tea. Or

that wondrous afternoon in Antarctica, when a humpback whale and her calf invited you to come out and play. These are moments you work for. Sometimes by trying harder. Sometimes by letting go. Always by being ready. Relying on instinct, sensing the opening, just in time to capture the image that captures the moment.

Tell us a little about how it all started?

When I first got into this business my aim was photo journalism. I graduated from the Art Institute of Fort Lauderdale and I started freelancing from there on. I did my internship at the Miami Herald and my purpose was to get as much experience as I could in order to start working in conflict zones. Unfortunately that never went through. I did however work with some wire services as a freelancer.

I remember the first time I bought a camera, I didn’t really buy it... actually I did buy it but it was off a truck in New York city. It was a little Minolta, and from the minute I lay my hands on that Minolta it was love at first sight. So I started taking pictures but of course I didn’t know what I was doing, and with time I got better and I decided to become a full time photographer.

How did you know you were getting better?

It was just by people looking at my stuff. Getting critiques from established photographers I knew that were in the industry.

You mentioned that photo journalism didn’t work for you. What path did you end up taking? Where did you take it from there?

Photo journalism was always the first love, it was what I always wanted to do. But sometimes life takes turns, and that’s what happened. I got married and had my daughter Maysa, and it wasn’t ideal to start going into conflict areas. So I had to change my outlook on photography itself. That’s when I started looking into advertising and I had the opportunity to assist some of the big names in the United States. My aim was to gain experience in order to get into that field. With time things started to work out.

Who or what inspired you to become a photographer? Was there someone who pushed you on with your ambitions to become a full time photographer/film maker?

It’s interesting because my inspiration came from not very well known people. You get all these big names that do great work but most of them don’t have to work that hard on it because they have the

Born in Palestine, based in Miami & living in Dubai, Lafi Abood has spent the past 20 years or so of his life travelling the globe as a professional photographer and film maker. His alarmingly charming deep voice masks his humble nature and you can’t help but want to sit back and listen to the endless tales of his colourful and eventful journeys covering all 7 continents. His passion for photography is clearly transmitted through his work which you can find on his official website www.lafiphoto.com. Currently a partner in a non-profit organization ‘Handheld Stories’, Lafi is actively working to bring his projects to life through mediums he knows best. His work unprecedented. His passion unquestionable. His vision incomparable. Welcome to his world.(taken from his official website)

FILM & THEATRE LAFI ABOOD

80

resources to simplify their workload. Before we get to that I’ve always believed that there are two types of photographers. There are the ones that just do it, and then there are the ones that do it for their souls. I call them soul photographers, just like soul surfers. These are the people that see and feel things that nobody else does. There’s always a good side to anything you photograph; you’ve just got to find it. It’s about giving it the chance to present itself to you and that’s why the older generation of photographers, like Ansel Adams, would sit there for 6 or 7 hours just watching a grassy field waiting for the right light to come through. We’re not talking about 20 minutes or half an hour, we’re talking about an entire day! It’s photographers like him that have a soul for it, where it’s more than just a snap. I mean yes technicality comes into play, but you have to have that relationship with the subject you are exploring. So going back to your question, I was inspired by a good friend of mine, and all he did was photograph Jazz musicians in Black & White. They were sensational! But does anyone know who he is? No. Not even in his own area. The guy didn’t care. He just did it because he loved it. He caught serious moments of these musicians to feed his own soul. It was clear that he was doing it for the love of it. His personal love for immortalizing the beauty of their music through his lens.

I’ve always been into film. In those times there was no digital, so everything we did, we did on negative film or slides. It was always a challenge to shoot slides but it was satisfying because it was a niche market. You didn’t have everyone claiming to be a photographer and we stood out. All the agencies at the time wanted slide images. They didn’t want negatives, and they understood the value of slides. I can’t imagine anybody coming close to shooting on slides nowadays.

What has been the highlight of your photography career?

It would have to be the Travelling it involves. The opportunities you are presented with are endless.

Is there a specific destination or photograph that personally established where you were going with your career in photography?

I’ll show you something that to me is so dear just because of the time, place or way it was shot. Therefore I have established a personal connection to this image. But when you look at it you would either think it was simply a pleasant image or maybe not think anything of it at all. Then you might look at another shot and say “wow, look at this!” and you may feel a personal bond developing. To me it’s just another image. So that brings me to the point that we all have a connections with certain things. It could be as simple as triggering a childhood memory or enhancing a particular sense because of the colours vibrating through the image. With that said, there are a several captured moments I consider special and hold dear to my heart. Honestly there are a times in your life where the moment is never lost. It’s always there in the back of your mind. I can sit back and recall so many different places that made me feel that way. I was in Barcelona a few years ago, just sitting there in a coffee shop with my camera. There was this gorgeous early morning orange light spreading itself across the city, something I’d never seen before. I just kept watching it and watching people walk through it. I was so taken aback by the scenario that I almost forgot to take a picture and then I took 2 pictures of a couple walking through, and that image will always stay with me. Another moment was when I was in Antarctica and we were on a zodiac waiting to reach land, a hump back whale surfaced with her calf teaching it how to feed, and for the next 45 minutes this hump back whale allowed us to observe this spectacular event. Its moments like that. Moments you cannot forget and you cannot deny.

What is so special about destination photography? Could you describe your creative process when it comes to destination photography?

It’s a shame that destination photography has become almost non-existent. You’ve got almost anybody and everybody taking photographs and uploading them straight onto the net. Agencies get their hands on them and sell them off for dirt cheap. At one point there was a lot of demand for destination photography and there weren’t a lot of people doing it and I was kind of lucky to get into it. It was and probably still is the number one job you could ever have in your life, to be a destination photographer. So I’ve done that for a while too and it’s just being able to go into a place without a set of rules dictating what images you need to capture. I mean of course you’ve got the obvious tourist areas, clearly when you go to Paris you’ve got to get a picture of the Eiffel Tower but aside from that you have the freedom to get everything else that you need or want or think that the agency could use, or simply images that you like yourself. Creative freedom is the best thing about destination photography. It’s the same with journalism; where you’re expected to capture images that would tell the story of that particular time; be it political, social or environmental. That’s your assignment and you’ve got to cover that, but at

the same time nobody tells you which face to grab or what kind of angle to take or what the picture should look like. That’s what I really miss the most about photography, which is being able to capture the essence of a living moment. Since I’ve gotten back into advertising it’s just hard to let that go. Don’t get me wrong, most of my clients consult me before hand and I’m usually given the creative freedom when approaching a project. It’s the freedom to be able to take your own picture is what is wonderful. Period.

Let’s talk a little about your film making. What lead you into film making? How has the technological evolution helped you with your work?

I always had an interest in film making. Like I said, back in the days when we were shooting on film, we worked with 35mm, 16mm and would occasionally fool around with 8mm, but believe it or not Still Photography made more money. I know it sounds odd but it’s the truth. You can make more money with Still photography, especially in advertising, than you would do with film. The reason for this is that the crew is not as big as the film set so the money gets distributed around. With Still Photography, you bring in your own crew which usually doesn’t consist of that many

constant motion and your eyes are not fixated on anything specific. I personally find it easier to shoot film because of this.

When I first started getting into it, I wasn’t doing any jobs. I was just playing around with the notion. Agencies started picking up some of my footages and before I knew it, they were being sold. I kept at it and eventually started to get more creative with it on a larger scale. Now here I was offering both Still and Video. I think it’s a wonderful thing. Technology has been incredible and although I miss the days of negative film and slides and standing out as a photographer rather than being in a pool full of them, you still cannot deny the digital world and how convenient and effortless it has made it for a lot of us. All you’ve got to do is log into VIMEO and you’ll see some of the most beautiful and wonderful short films these young kids are coming up with. It’s just made the creative world that much bigger and that’s a very positive thing.

Staying on film making, tell us about your first project. What was behind it and what did you use?

The first motion film job I did was on a 35mm camera and I was the second camera man on a project for a cruise line. I was there to pick up

people. When it comes to advertising you charge for all kinds of things; time, usage, pre-production, post production, creative etc. The introduction of evolutionary digital DSLR’s made it so much easier as it allowed you to shoot in full HD. I recall when it first started, I remember getting a phone call from a good friend of mine who at the time was one of the testers for Canon and he was given the Canon 5D to experiment with. First thing he said was “Lafi get up! Your prayers have been answered, GET UP! You’ve got to come and see what I’ve got in my hands”. Sure enough I meet up with him and we start testing it out. Once the footage was uploaded onto the laptop, we were quite shocked at the results the camera had produced. So we caught on that and started experimenting with it some more. Others started getting into the trend as well and the next thing you knew, commercials and TV series’ were being shot with it too. I think the season finale of HOUSE was shot with it and nobody could believe the remarkable quality of it. My point is that it started making things easier for me in order to get back into film. The transition from still to motion is so much easier than the opposite. I could be wrong, but that’s how I feel. Still Photographers are trained to visualize scenarios in intimate detail because they seek that perfect image. With film, you have a little more latitude. You are able to hide stuff because it involves

shots on the side with a 35mm Arry, which is kind of ridiculous when I come to think about it now, but it was interesting... I liked it. Lets fast forward to to the past couple of years. The first project I got involved with concerned Special Needs Children. It started out in Doha, Qatar but was eventually shelved by the sponsor. That lead me to pick up on a few advertising projects for some time until around a year ago when I decided to give the Special Needs project another chance.

The minute you become a father, you start looking at children through a different light. You start relating and sympathizing with unprivileged kids in world, especially those with special requirements. I got involved with a centre called SENSES here in Dubai. I was given the opportunity to spend time with the kids at the centre, to get to know them and to build a relationship. I shot a 5 minute short film as part of an awareness campaign. It was to highlight the importance and significance of the centre and the impact it had on the children. The feedback the centre received was immense. I still do a lot of work for them just by going back and forth to help out as much as I can. That really was the first personally satisfying job I have done in Dubai.

Presently, I’m a partner in a non-profit organisation called ‘Handheld Stories’. The concept behind the organization is to become a platform for unrepresented children all around the world. The idea is to teach these kids how to document their daily lives. To tell their own stories through their eyes. We teach them how to do it and put it out for them for everyone to see. Guy Brooksbank is the man behind the concept. I got on board and from there on we explored opportunities to expand the idea with the hope that Handheld Stories will become the voice of these children. We are not political by all means. We could care less. What we do care about are the kids. Not just the kids in the middle east, but kids worldwide. We initially tested this whole idea out in Jordan and we were quite amazed at the amount of joy it brought to

the kids and how they accepted us. They showed a colourful eagerness to get started once they were told what it was all about. A little while later we tested it again in Palestine and the response was again astonishing. Some of the stuff these kids shot was just breath-taking. Right now we are exploring the possibility of taking it outside of the Middle East. We have already taken that step into Ethiopia. Street kids in Ethiopia is a well known occurrence. It was Also because we had easy access to the country in comparison to some other African nations. You could say that it was more along the lines of a discovery mission and I am convinced that it would be a great place to start off with in Africa. We are now in the process of getting funding in order to proceed. Some of these places are war torn countries so we’d have to be really careful with our approach, but there are still a lot of other places like Brazil and even closer to home in the US. As developed as America is, there are still so many unrepresented children there. We want to take this anywhere and everywhere.

Handheld stories is a passion for all of us. Myself, Guy Brooksbank and Rashid Al-Meri, who is our local producer and film maker, hope that with continuous dedication we all have towards the project, we can make it a successful story.

What is your view on the local scene with regards to film and photography?

I’ll tell you what, there’s a lot of talent in this town! I do think that the freedom to be creative in this country is absolutely wonderful. For a local Emirati, with a little dedication you have the chance to excel and produce something really beautiful. A lot of times you’ll notice that some of the work is a little rough on the edges and that it requires a little polishing but in general I think this place is moving in the right direction in comparison to most other Arab countries. I honestly think that the government here is pushing in the right direction to get as much creativity out of the film makers

and that’s a fantastic thing. I attended the Abu Dhabi International film festival as well as the Dubai International film festival and witnessed the amount of encouragement that’s given to these young film makers. It’s incredible! Who does that? You don’t find that anywhere else really. All you need to fulfil your dream here is a little bit of dedication. Yeah luck comes in handy but dedication goes a long way.

If I was to share my advice it would be to just keep at it! Keep doing what you like and one day you’ll get recognized for that. Yeah you might have to struggle but at least you’ll struggle doing the things you like. I can’t imagine myself in a suit in an office, it’s just never going to happen. Not today, not tomorrow not ever. It’s just not in me. This is it for me and I’ll be doing what I do best for the rest of my life.

Who are you favoured photographers and why?

Sebastian Salgado: He documented the migrations of a working man with an unmatched intricacy. His dedication was impeccable and his work flawless in its nature.

Eugene Smith: A very hot headed photo journalist so dedicated to his photography that nothing would get in his way to capture the image he wanted. His methods rather unorthodox but effective.

Karsh: A remarkable photographer! One of very few people that can capture the essence of a subjects personality and have it printed.

Robert Kapa: Another photo journalist I greatly admire. A pioneer in his field during his era. His work nothing short of engrossing and inspirational. I recommend you check out his work!

You can find some of Lafi’s work onwww.lafiphoto.com or vimeo.com/lafiphotoYou can also contact Lafi on his email address: [email protected]

FILM & THEATRE LAFI ABOOD

82

Jessica Mein is a Brazilian artist and animator who bounces between Dubai, New York City, and Sao Paulo. She is currently debuting at the Pavilion Downtown Dubai, showcasing her five short animations and selected works on paper.

Mien’s latest 2 minute looped animation consists of more than 700 drawings, collages, over layered stills and cut-paper images of the power lines from the city. The exhibition curator, Larissa Koleskinova also discusses her interest in Mien’s unique art and the growing art community in Dubai and its great expansion since 2005.

FILM & THEATRE JESSICA MEIN & LARISSA KOLESKINOVA

84

How long have you been creating art?

That is difficult question to answer; I’ve been drawing since I can remember, but I don’t remember when I started calling what I made ‘art’ , which I think that is probably a good thing.

I tried to do something more practical, and almost went into law, but making art took over and I just kept doing it.

It happened organically, I did not ‘decide’ to be an artist from one day to the next, I just kept making things, seeing a lot of exhibitions getting into a few exhibitions, reading and researching and meeting people. Then I decided to get my MFA in New York.

What have you got planned this year?

I am currently in a group show at Simon Preston Gallery in New York, and what’s confirmed so far is that I will be in a group show curated by Mohammed Kazem in Dubai. That will open next month at DUCTAC, and I have an upcoming solo in Galeria Leme in São Paulo in the beginning of April.

Are you interested in collaborating with other artists?

Yes, I am open to collaborations if the concept of collaboration for a specific project makes sense.

Time is often a strong theme in your work. What materials do you use to represent such a metaphysical concept?

Time, just like any material, is malleable. Godard once said that film is “truth 24 frames per second”. But you can make one frame last a whole second or even 24 seconds. And of course the idea of time is not objective, it is closely related to our perception or memory of time, which is imperfect.

I want to explore the malleability and materiality behind the images. We usually think of an image as immaterial (it can navigate between a magazine, video, billboard, newspaper, digital platform) but I am interested on the materiality that holds the image. In this case, paper.

I am interested in addressing/working with the materiality of paper so it is not simply a surface for the image but part of the architecture of the image, and it can be folded, scratched, perforated, cut, etc.

Do you have formal art training? When did you begin branching out and forming your own techniques?

I have had training in art, but I think that having a base in other areas like literature, political science, and philosophy is just, if not more, important.

I try to let the ideas guiding the work demand a technique for the material that best suits the idea. I only started working with time-based works in graduate school, and I think the most interesting technique was almost de-constructing the medium or investigating it to a degree that it turned on itself for my specific concerns at the time.

I think having had the platform and stimulus to think and problematize was the most important training for me.

What inspired you to create animations using illustrations collages, cut paper, and others?

Although there are a variety of mediums in my work, I think what I have been making lately is related to collage and drawing, whether they are expanded into animations, books or not at all. I am interested in interrupting the apparent seamlessness in technology with the handmade. And similarly, my drawings and collages have machine-like elements. The abstraction of representation as well as a physical handling of images (seeing them as material) runs through the different bodies of work.

Why did you name your latest animation Blackout? What were you hoping to express?

The name comes from the very material that makes up the animation, it builds up to become saturated by the black power lines that end up filling and blacking out the visual space in the video. Of course, it also literally references power and electricity and the material of video is light.Without light there is no video.

How has your work gone down in the Middle East?

It has been positive, and certainly an enriching experience for me.

How did you meet Jessica, and what about her work peakedyour interest?

Jessica and I were introduced by a close friend, who is also an artist, and this friend thought I should see Jessica’s work. Indeed, I was very curious, so Jessica and I scheduled time for a studio visit about a year ago. She was working on her Billboard collage series for an upcoming show in NYC, and I was taken by her tirelessness and the way she worked with paper.

The collages she made were done from discarded billboards she found in Sao Paolo. She was cutting out the tiny pixels and re-gluing them onto the paper creating amazing works that really made you think of human error and the beauty behind it.

Most of Jessica’s work on paper is focused on the synthesis of the mechanical and the hand-made. During that visit I had a chance to see a couple of her animations, and I knew we had to have a show. The work was of great quality and addressed subjects that are important to me.

What emotions, ideas, or feelings do you think the viewers of the exhibition will have?

Well, this is not an easy show. Every animation makes you come back to it many times. There are so many layers, so many beautiful things to see. In this way, time-based works are very different from the still-image works we are more used to seeing every day. It took me about six months of research to fully engage the issues of time-based art. I had to do a lot of reading, from Deleuze and other philosophers to Jessica’s MFA thesis, to really grasp the issues she is addressing in her work.

I also think her work resembles dreaming, so people should be able to connect to it without overanalysing. In my opinion, any great art, that is art that engages and challenges you, needs to be ‘experienced’. Animation is the easiest way to set up this experience.

How do you feel the work of expatriate artists compares to local or Arab artists living in Dubai? Is there a difference?

People are people, whether they live in Dubai, Sao Paolo or St. Petersburg. Yes, we do experience things with variations that reflect our conditioning, experience, and emotional make up.

Dubai is the place where people come to, mostly in the middle of their lives, to live, create, and collaborate. This is a city that revolves around work, ambition, vision, and excellence. I love this place!

Great art is great art anywhere, and there are fantastic artists living here, including pioneers like Hassan Sherif, Mohammed Khazem, and many others. Their work is as international as it gets. For artists, who are younger and just starting out locally, I think it is important to travel and see as much as they can. If you want to be a great writer, you have to be well read.

What do you think of Dubai’s art scene? Will it evolve next year?

It has changed tremendously since I arrived here in 2005. We have come a long way together. Now we have a great art fair, professionally run galleries, foundations that are interested in supporting the arts, art patron awards, private museums, professional art advisory services for collectors etc. A lot has been done and much more will happen.

Our art professionals travel to major art fairs, take part in important global art events. Dubai is on the global art map. No question.

Will it change? I see growth and interest in international art, and hope in my curatorial work contributes to that. Without the dialogue and international context, there is no engagement and synergy. I have a feeling UAE-based collectors are getting tired of seeing the same names in the same places, and I like that some galleries have opened up to showing more international artists and use outside curators for their shows.

This trend will continue, I am sure. I hope that collectors will get more interested in more challenging media, such as installation and time-based art. I hope their collections will be curated and they will spread beyond their homes. I also hope they will get more involved in art patronage projects, not only buying art, but also by understanding the needs of the art community here and how they can get involved. This is what I focus on and aim for as an art advisor; curating, fostering art patronage and advising private collectors on their collections).

What’s it like exhibiting animations?

86

This is actually the first animation-focused show that I have curated. We received very positive feedback from serious collectors and institutions whose opinions are well respected. I think the show is well received and is of international quality. I also think the public is ready for a challenge and seeing Jessica Mein’s works at the Pavilion has been great for the community.

In my head, it sort of continues a recent trend: last year we had a chance to see great time-based work by Laleh Khorromian at the Pavilion (a project in collaboration with The Third Line).

Jessica’s show sets the stage for Art Dubai this year, which I am sure will be fantastic. Dubai is very good about creating new standards and fighting stereotypes.

What’s your background in the arts?

I have done many different things that turned out to serve me well in my current work. I have a background in literature, have worked in a private museum and then in a consulting firm in the US. I spent my formative years in the art community in St. Petersburg, mostly in artists’ studios, listening and learning from great artists like Adrey Medvedev and Timur Novikov. They shaped my cultural values and comprehension of art.

I learned to understand what it took to be an artist, what type of commitment it required, and what it took to survive through the huge social and economic crises Russia was going through in the 1990s.

When I moved to Dubai, I founded Perceptions Fine Arts Consulting. We specialize in curatorial projects, art advisory services for private collectors, art management and art patronage. It has been a great experience and an adventure.

Anything planned for 2012?

I’m hoping to continue deepening my curatorial practice by working with international artists, whose work I have been following for years. I plan to travel and see new art. Last year it was Asia, this year Latin America. I also look forward to working with my collectors and continue growing and managing their collections. I love what I do and it keeps me going.

Check out Jessica’s exhibit at The Pavilion Downtown Dubai, Gallery 2 until 8 March.

During an interview on the landmark comedy programme Chapelle’s Show, l’enfant terrible of funk and R&B Rick James, claimed that “cocaine was a hell of a drug.” Expressed with a mixture of nostalgia and regret, you could see how the affects of addiction had impacted James’ life. Yes he still had that cheeky glint in his eye and the couldn’t give a shit attitude, but there was an odd, somewhat distant temperament to his demeanor.

It was about 3:30am when I caught a glimpse of my reflection and saw the very same distant look while I was playing Namco’s Pac-Man Championship Edition DX. I paused the game and went to the bathroom and splashed a handful of tepid water over my face. My weary eyes were desperately trying to focus, looking for some kind of clarity as they scanned what looked like unidentifiable shapes.

I took a swig of orange soda and sat back on the couch. As the sugar sent jolts to my bloodstream, I realised that I was experiencing something I hadn’t felt since Capcom’s 90s classic Street Fighter II...addiction.

One of the best games available on the Playstation Network and Xbox Live, Pac-Man Championship Edition DX is an apt allegory for addiction. Like the classic original, you frantically navigate

your way around never-ending maze like rooms, eating pills and occasionally stopping for munchies, in this case fruit, as the ghosts of your past chase you.

However, Namco has taken this simple premise and have somehow made it even more compelling by subtly tweaking a traditional strategy of the game. As you make your way around the maze you will see that the ghosts are sleeping, and they remain dormant until you pass by them.

The second you do this they come to life and give chase. Continue this pattern and you can build up a train of dozens of ghosts behind you. When you have built up a significant following, gobble up the nearest power pill and then watch as the hunted now becomes the hunter. What conspires is one of the most gratifying experiences I’ve had in gaming for over 20 years. As you pick off each ghost you set off the majestic splendor of 8-bit blips and bleeps, as well as rack up a momentous score muyltiplyer bonus. This is not only cool but an important factor if you are to have any chance of getting your name on the world leader boards.

The designers understand this is the game’s carrot and have added a few new tricks to Pac-Man’s arsenal to help you achieve big scores. Whenever

you find yourself cornered by a set of flanking specters, the game goes into a slow motion bullet time, giving you a few precious seconds to make a dramatic escape. You also have a set of smart bombs that when detonated send the ghosts back sprawling to their home in the center of the maze.

These little leg-ups arguably make the game easier, but they never take you out of the core experience. They also add a layer of tension that keeps the pace of the game thrilling as you weave your way around towards your next fix of ghost busting.

Joseph Frascella, director of clinical neuroscience at the National Institute on Drug Abuse (NIDA), describes addiction as “repetitive behaviors in the face of negative consequences, the desire to continue something you know is bad for you.”

I don’t know if Pac-Man Championship Edition DX is bad for me, but I’m addicted. With its range of tricky neon mazes, challenging game modes, new game mechanics and bumping techno sound track, this is one habit that I’m not going to be giving up anytime soon.

Developer:Namco BandaiPublisher: Namco BandaiPlatorms:Playstaion Network, Xbox Live Arcade, Windows Phone.

GAMING PAC-MAN

88

if (digital){ sentiomedia();}

sentiomedia.comin case you had enough of the salesmen

The Games as Art(TM) debate often brings up passionate arguments on both sides of the fence. But if I may approach the bench, I have new evidence that may settle the case once and for all. Much like thatgamecompany’s previous titles, flOw and Flower, Journey is as much a sensory experience as

Some of the hot titles you’ll be addicted to in 2012

Jason Joseph

Max Payne 3

Street Fighter X Tekken

Arrives: March 2012Passengers: PC, Xbox 360, Playstation 3, Playstation Vita

Sorry mum, but I would be lying if I didn’t say that Street Fighter has had the biggest impact on my life. I met my some my closest friends, including my best man, while in smokey arcades trying to learning how to do a Dragon Punch. Now, years later after mixing up with the likes of Marvel and SNK, Capcom have doubled-down and brought their shapes over to another legendary fight franchise in Tekken, to deliver the best combination since ham and pineapple. Am I excited? Well, does Guile’s music go with everything?

The last time we saw Max Payne was in the Oscar nominated film of the same name starring Mark Wahlberg. Even before that classic was unleashed on our flat screens, there was talk of Mr. Payne’s return in a third game of the violent and gritty franchise. For years we heard nothing.

But now, like a phoenix rising from the flames of development hell, Max is back. Looking like a meaner version of Zach Galifianakis from the Hang Over: Part II, our anti hero has redeemed his airmiles and exchanged the noir settings of New York for the sunny streets of Sao Paulo. However, it’s

not long before he’s up to his Caipirinha with ruthless gangs, double-crossings and kidnapping. There will be bullets. There will be slo-mo. There will be blood.

Arrives: March 2012Passengers: PC, Xbox 360, Playstation 3

it is a game. Technically a platforming puzzler, Journey’s beautifully lucid art direction, immersive score and Billy Dee Williams smooth animation ensure an experience unlike anything you’ve seen before.

Arrives: Summer 2012Passengers: Playstation Network

Journey

GAMING GET YOUR GAME ON

90

For those of you still feenin’ for more Battlestar Galactica type drama in your life, you may want to invest in a console or PC and buy Mass Effect 3. Developed by gaming gurus Bioware, the Mass Effect universe has one of the most compelling plot and story settings in video games. Richly drawn characters of different races, genders and ideals collide to create a Molotov cocktail of intergalactic cloak and dagger goodness, as well as occasional bouts of rumpy-pumpy. With a new multiplayer mode, a first for the series, this third installment and early contender for game of the year promises to be the best one yet. Prepare for takeoff this March.

Arrives: March 2012Passengers: PC, Xbox 360, Playstation 3

Mass Effect 3

Games such as Angry Birds, Words with Friends and Plants vs. Zombies, smartphones and tablets have firmly taking their seats amongst the masses. So much so that many hardcore gamers see them as the death of the dedicated handheld gaming systems. It seems that Sony didn’t get the memo and have created the PS Vita, one of the most powerful and impressive handheld

gaming system in our universe. With a lineup of impressive games set to appear on the system, one that has really caught my attention is Escape Plan. If Tim Burton and Jigsaw from the Saw movies were to make a game, Escape Plan would be the result. Simple in its premise, players have to guide characters Lil and Laarg through a series of rooms that have been decked out with a bunch of hazardous traps. Awesome Gothic art design combined with clever implementation of the PS Vita’s technology, and you have the makings of a cult classic in the palm of your hands.

Arrives: TBCPassengers: Playstation Vita

Escape Plan

The latest from the makers of Uncharted sees a man and a young girl battle to survive after a deadly fungal virus has ravaged the world’s population, turning many of them into rabid infectedkillers.

Honourable Mentions

The Last of Us

Arrives: TBCPassengers: Playstation 3

Lara Croft is back. After the demo at E3 2011 blew a lot of people’s minds, excitement levels for this game have reached boiling point. The graphics look astounding, and if the gameplay is up to par, Lara will be able to give Nathan Drake and the like a run for their hidden treasure.

Tomb Raider

Arrives: March/April 2012Passengers: PC, Xbox, Playstation 3

Studio Ghibli and Level-5 collaborate together to make a game. End of!

In a short amount of time Bio Shock has become a classic. And there some out there who believe that Infinite should be given the game of the year and everybody else should just get the last bus home. Deep exploration, creative combat and quirky art direction. You know something, they might be right. Watch this space.

Initially I wasn’t too excited when I heard the announcement about this game, but that was before I saw a preview video depicting series favourite Raiden getting all Lone Wolf and Cub as he sliced his way through ninja cyborgs, buildings and anything else that got in his way. Developed by Kojima Games and Platinum Studios, who gave us the blood splatted Mad World on the Nintendo Wii, Revengeance will be served cold later in the year.

Ni No Kuni

Arrives: TBA 2012Passengers: Nintendo DS, Playstation 3

Bio Shock Infinite

Arrives: TBA 2012Passengers: PC, Xbox 360, Playstation 3

Metal Gear Rising: Revengeance

Arrives: TBA 2012Passengers: PC, Xbox 360, Playstation 3

KIM Studded Blazer, 3,000 AED, Malaak. Horn Ring, 1,240 AED, Noir. At S*uce Boutique.Men’s white cotton shirt, 705 AED Hooked,Light grey ceramic bow tie, 670 AED, Cor Sine labe Dole; Dagger and silver chain necklace, 850 AED, Mouton Collet, at Bullets and Butterflies.Cuffs and Cufflinks, Stylists own.

FASHION & BEAUTY TOUFIC ARAMAN

92

Toufic Araman, award-winning Middle East based photographer, is currently working on a new series which will be revealed later this year. Here’s a sneak peek. We’ll bet you can’t figure out

who the characters are..

Photographer: Toufic AramanFashion and Props Stylist: Mandi Kingsbury

Models: Iga, Victoria P, AyanHair : Simone Nigg

Makeup: Antonia Toni MaltPhotographer’s assistant: Kaveh Kashani & Johnnie Cruise

Stylist’s Assistant: Kerrie O’Neil


Couture Blazer worn Backwards, Price on request, Michael Cinco. Triangular collar necklace in rose gold, 1,440 AED, Eddie Borgo at Bullets and Butterflies.Gloves Stylists own.

94


Spectrum, Black and white Abaya, 3,400 AED, Malaak.Scarf with silver fringe, 1,530 AED, Mouton Collet;Claw earring, 1,005 AED, Noir at Bullets and Butterflies.White Hand broach, Stylists own.

96


98

Black Leather jacket, 4,340 AED, Junya Watanabe for Comme des Garcons;Leather wallet, 600 AED, Felix Block;Faceted glass-bead necklace, 3,300 AED, Jean-Francois Mimilla for Marc Le Bihan. All at IF Boutique.Black leather gun holster, 3,685 AED, Thatched-leather Lighter case with chain, 1,440 AED, Mouton Collet;Topsy turvy small top hat , 510 AED, Style Stalker. All at Bullets and Butterflies.Stacked silver ring, 1,240, Noir;Round black shades with Swarovski crystal, 960 AED, A-Moris at S*uce Boutique.Beanie hat, Stylists own.


Couture Blazer, Price on request, Ezra Fashion DesignBlack leotard, 410 AED, Style Stalker; Love ring set by Maria Francesca Pepe at Bullets and Butterflies. Spider Bracelet, 4,730, Creart II at S*uce Boutique.Metal armor as crown and corset, Price on request, Michael Cinco.

100


102

Archangel Studded Abaya, 3,850, Malaak. Faceted matt glass-bead necklace, 3,300 AED, Jean-Francois Mimilla for Marc Le Bihan at IF Boutique.Gold funky ring, 1,425 AED, Al Cozer at S*uce Boutique.Gold toe ring and ankle chain set- worn on hand, 1,070 AED, Agent Provocateur at Bullets and Butterflies.Earrings, Stylists own.

WE JUST LOVE PAT BOMBARD’S FASHION PHOTOGRAPHY HAD US INTRIGUED FROM THE FIRST GLANCE. AND AS WE LEARN MORE ABOUT PAT, THE MORE OUR INTEREST GROWS! JUST SO YOU KNOW, THIS STUNNING PHOTOGRAPHY WAS CREATED BY A 19 YEAR OLD ART STUDENT. YEAH, WE FEEL LIKE UNDERACHIEVERS TOO…

FASHION & BEAUTY PAT BOMBARD

104

Self taught photographer Pat Bombard embarked on this creative pursuit from the age of 15, and only recently started taking professional lessons. He’s obsessed with Alexander McQueen (who isn’t?!) and often features pieces from fellow students studying fashion design at his university. We love the colours, the fashion, and the direction of these shoots. Definitely one to watch, expect to see Pat’s work gracing glossies around the world very soon!

So, tell us about yourself! Where are you from, where do you work?

Currently, I’m a 19 year old art student attending SCAD in Savannah, Ga. I’m originally from upstate NY!

How did you get into fashion photography, and photography in general?

I was always into portraiture throughout my early photography career and just started trying out fashion photography and fell in love.

The story of how I got into photography is actually quite a funny one. I was 15 years old and one day my brother (who was in a band at the time) made me come take pictures of one of his shows so they could use them. Good thing he did, because I’ve been in love with photography ever since.

Did you study photography, or have formal training?

I’m a sophomore in college this year, so I’m just getting starting with my photography classes, but prior to college, I haven’t had any sort of training.

How long have you been a photographer, and is this your main job?

I have been a photographer since I was about 15. Being so young I never have had any absurd bills or mortgages, so I was always pretty much self employed with photography. The hardest thing about being self employed and shooting at such a young age is earning respect. It’s hard to get clients (who will sometimes be 30-50 years old) to respect your vision as an artist and a creative, when I’m so young and “naïve”.

After college I’m hoping to start a career as a commercial and fashion photographer in New York.

What’s your creative process like?

Tons of stress! I think of my work as a photo at

a time. When I get an idea, my mind runs in all sorts of directions, and typically I over analyze the situation. After this, I usually sleep it off and wake up with a more clear vision of what I want to shoot and how to go about doing it.

Who are you favourite designers – in general, and to work with?

McQueen is number one all day. A lot of the garments seen in my work were produced by SCAD fashion design students. They’re the best! They’re always coming up with crazy creations to keep my mind flowing.

What type of models do you try and work with? When you choose models for shoots, what “look” do you search for?

It depends on the story. I typically look for strong faces and a model with variety.

I love the strong colours in your work. Is this something you’re very conscious of as you work? Bringing out certain colours, etc?

Absolutely. In my creative stage, I typically create a color palette to base everything off of. It helps me visualize final images ahead of time!

Some of the fashion styles depicted in your work seem quite quirky and avant-garde while others, although still quirky, are softer. What makes you decide to go a certain way, stylistically?

One of my good friends Dalton is my stylist. We understand each other pretty well on where my vision is and what I want in my work. I tend to prefer an overall mood of “darkness”.

How do you determine what the mood of the shoot will be?

I try to keep the same mood with all of my work. Though most of the imagery is dynamic, I try to limit the emotions of the models face. This shines through in all of my work.

Do you work in a team, or on your own? Are you happy with that dynamic? What sort of challenges do you face, and what are some of the perks?

It varies. When I do editorial shoots, I typically have a crew on set. For most shoots it’ll be me and one or two assistants to help with the lighting and

production aspects of the shoot. I enjoy both types of shoots! It’s always fun just to hang out and have a good time and create some killer photos while doing so!

There are always challenges. Just about every shoot something is forgotten and we need to make due. For example, for a recent shoot, I planned on photographing with studio lighting and having the sun in the back. Well, when we got to the location, I found that my batteries to trigger the lighting were dead. Instead, I improvised and used a reflector, and the end result came out incredible! Problems are always going to arise on every shoot, you just have to be prepared to troubleshoot them and work through it.

What other art disciplines are you influenced by?

A lot of my influences come from classical paintings, illustrations, and movies.

Who are the photographers that most inspire you, or whose work you admire?

Some of the most inspiring photographers to me are Gregory Crewdson, Annie Leibovitz, Steven Meisel, Nick Knight, Jeff Wall, and Erwin Olaf. But the list goes on for days.

Are you only interested in fashion photography? If not, what other types of photography are you interested in, and how do they compare?

Not at all! In fact, I pull a lot of inspiration from architecture, landscape, and portrait photography.

What does the future look like for you?

Lots of new work!!

Any advice for aspiring photographers?

Never stop pushing. It’s so easy to get into a creative rut and stay there. Play around with styles and techniques and have fun with it!

Last words?

Thanks for the opportunity to show my work. Look for me around in the photo world!


106


108


110

Leah Perry

model: Sophia with Factorhair & make up: Mel Hunter

MOISTURIZER: EMBRYOLISSE LAIT CREMEFOUNDATION: MAC FACE AND BODY IN N1 AND N2CONCEALER: MAC SELECT MOISTURECOVER IN NC15BLUSH: MAC CREAM COLOR BASE IN SHELLHIGHLIGHT: MAC CREAM COLOR BASE IN LUNAEYESHADOW: MAC MINERALIZED EYESHADOW DUO IN MIX AND SWITCHEYELINER: MAC PRO LINER IN NC25MASCARA: MAC ZOOM LASH IN ZOOM BLACKEYEBROWS: MAC EYESHADOW INLIPSTICK: MAC LIPGLOSS IN NYMPHETTE

FASHION & BEAUTY LIPS

112

MOISTURIZER: EMBRYOLISSE LAIT CREMEFOUNDATION: MAC FACE AND BODY IN N1 AND N2CONCEALER: MAC SELECT MOISTURECOVER IN NC15BLUSH: MAC CREAM COLOR BASE IN SHELLHIGHLIGHT: MAC CREAM COLOR BASE IN LUNAEYESHADOW: MAC MINERALIZED EYESHADOW DUO IN MIX AND SWITCHEYELINER: MAC PRO LINER IN NC25MASCARA: MAC ZOOM LASH IN ZOOM BLACKEYEBROWS: MAC EYESHADOW INLIPSTICK: MAC LIPGLOSS IN NYMPHETTE, LIPSTICK MYTH


114

MOISTURIZER: EMBRYOLISSE LAIT CREMEFOUNDATION: MAC FACE AND BODY IN N1 AND N2CONCEALER: MAC SELECT MOISTURECOVER IN NC15BLUSH: MAC CREAM COLOR BASE IN SHELLHIGHLIGHT: MAC CREAM COLOR BASE IN LUNAEYESHADOW: MAC MINERALIZED EYESHADOW DUO IN MIX AND SWITCHEYELINER: MAC PRO LINER IN NC25MASCARA: MAC ZOOM LASH IN ZOOM BLACKEYEBROWS: MAC EYESHADOW INLIPSTICK: MAC SHEEN SUPREME LIPSTICK IN


116


118

MOISTURIZER: EMBRYOLISSE LAIT CREMEFOUNDATION: MAC FACE AND BODY IN N1 AND N2CONCEALER: MAC SELECT MOISTURECOVER IN NC15BLUSH: MAC CREAM COLOR BASE IN SHELLHIGHLIGHT: MAC CREAM COLOR BASE IN LUNAEYELINER: MAC PRO LINER IN NC25MASCARA: MAC ZOOM LASH IN ZOOM BLACKEYEBROWS: MAC EYESHADOW INLIPSTICK: OCC LIPTAR

nike air maxim trainer 1

nike free run 2

nike air rift blue & yellow colourway

The Nike Air Maxim Trainer 1 uses Air Max 1 with Flywire technology. That’s unimportant. What is important is that I picked them up at the Sun & Sands Sports outlet behind the Al Barsha cop shop.

So sweet in women’s colourways. So fricken sweet make me wanna sweat. And the only shop in the UAE that sells women’s Nikes in monkey sizes is the Nike in Arabian Centre.

These are also available in the S&SS near MoE. I got these and the Maxims above for 340 AED. That’s really cheap. I love Dubai.

Sun & Sands Sports: please stop displayed the sneakers in their boxes, and folding the cover inside the box. It ruins the box. And the box is half the prize. I hope someone hears me…

FASHION & BEAUTY SNEAKERS OF THE MONTH

120

PHOTO BY SATY+PRATHA

MUSIC STEVE STRANGE

122

It’s not often that one encounters, or in fact has a chance to converse with, a

legend. The lucky oftentimes get to see legends performing on stage, or perhaps passing them on the street in NYC or LA or London. But having an hour long conversation with

someone who started cultural movements, was widely known

and admired at the wee age of 17, and calls Boy George

and the boys from the Sex Pistols old friends is, to say the

very least, a rare privilege.

MUSIC STEVE STRANGE

I GUESS YOU CAN TELL BY NOW THAT I WAS LUCKY ENOUGH TO HAVE A LENGTHY CHAT WITH THE ONE, THE ONLY STEVE STRANGE.

Some may remember him as the teenager who pioneered punk and New Romantic movements in the 80s. Others know him as the androgynous young lad in the ‘Fade to Grey’ music video and lead singer of Visage. However, unfortunately, there are many who do not realise just how significant an impact and influence Steve has had on music and fashion.

We spoke after New Year’s Eve and I was relieved to hear that Steve had recovered from the cold that plagued him around Christmas time. We settled in and Steve started where one always should, the beginning.

“Where I was born in South Wales its sort of a mining village and your career opportunities were either I’m going to be a miner or go into a rugby team and I knew from the age of like 13 that I just wasn’t fitting into this sort of very humble village mentality. I was very creative at school and a grade A student until my rebellious streak, and my creative juices began to flow and I got banned from school at the tender age of 13 for having bright orange hair.”

As a young kid, Steve was already pushing the limits on fashion and what is considered ‘acceptable’, whether it was with his attire, the way he looked, or the music he listened to. Many looked at him as a freak or a weirdo, but one teacher took him aside and told him, “Steven you are one of the most creative sort of art student that this school has ever entertained and I want to tell you that you need to put all your sources of your art work and combine an art portfolio.”Steve went on to explain, “I was becoming the freak of the village; I never wore this sort of archetype typical school uniforms. I would wear platforms and oxford bags and twinsets and you know my tie would never be a skinny tie it would be like a big fat gold tie. And at the age of 14 I had my nose pierced and had three chains going through my nose to my ear and that was the first time I actually got my taste of publicity by appearing in one of the Welsh national newspapers which said ‘PARENTS BEWARE OF THIS NEW YOUTH TREND CALLED PUNK ROCK.’”

Steve quickly moved from shocking the people around him to, at only 14 years of age, pioneering punk groups, designing posters, contacting managers, and promoting punk rock gigs in Cardiff and Newport. Around this time he met and became good friends with Glen Matlock, the original bassist for The Sex Pistols, and Jean-Jacques Burnel from the Stranglers.

Glen Matlock told him, “You don’t deserve to be in a town like this, you need the bright lights, and if you ever think you need to get out of this town, you can always crash on my sofa.”

After 6 months, Steve took Glen up on his offer and moved to London, armed with his art portfolio and unwavering determination.The next few months saw Steve work with Malcolm McLaren at Glitterbest, then Billy Idol (who was then heading his band Generation X). Steve and Glen also decided around that time and so found an abandoned building with a conveniently open window. Thanks to the squatters rights at the time, Steve and Glen took over the abandoned flat and quickly took to making themselves as much as home as could be expected. They went through newspapers and found the most grotesque headlines they could find, like ‘Rapist on the Run!’, and decorated their walls with these shouty proclamations of evil.

Unfortunately they only spent about 6 months in their happy home before foreign men began banging down the door. The boys grabbed whatever they could, and jumped right out the window and down their drainpipe with their precious belongings.

The next few years saw Steve move amongst the biggest names in the music industry, eventually start hosting club nights at Blitz nightclub in London, and, in the pursuit of new music eventually decided to start his own bad, Visage.

As he describes it, “I was always being asked by various managers, just because of my original, creative look, would I consider fronting a band? And the thought had crossed my mind. It was at a time when the punk rock scene had evolved and the national front and the Nazi

skinhead groups had moved in. It wasn’t like it was in the beginning. The nationals like The Daily Mirror and The Sun were actually telling you how to rip your clothes and wear a safety pin even if your nose wasn’t pierced, and so on.”

Fed up with what the punk scene had become, and the lack of the original creativity he had loved so much, Steve reacted to the violence of what punk had become with the New Romantic movement. As well as joining Visage, Steve was organizing parties and club nights, and the crowds grew and grew.

And as Steve’s parties grew, his infamous door policy came into play, as he wanted to make sure that the original kids who put in effort to looking unique didn’t get pushed aside, but rather had the opportunity to enter and party. And Steve was fiercely dedicated to his style, and to his image, and carried it on throughout the day, not just at parties. He dubbed himself and the kids like him “Unique Freaks”.

Steve and Visage were on the brink of fame, and winning video of the year with ‘Fade to Grey’ really pushed them into the limelight. Even David Bowie had an appreciation for Steve’s creativity, and asked Steve to appear in and style one of his music videos.

The next few years were a blur of fashion, parties, traveling sometimes to 4 countries in one day – from France, to Germany, to Spain, to Italy, and gearing up to ‘crack’ America. Which was a tough one considering to really make it in America you had to be seen as a touring act. But Steve didn’t let America stop him from being who he was. He demanded that he enter his first party in America on an elephant. The record company couldn’t source an elephant and Steve had to ‘succumb’ to entering on a camel. But Steve was right to enter with a bang, as amongst the crowd that night were Andy Warhol, Debbie Harry, Patti Smith, and many other greats. They had come to see what’s new in London, arriving in America. Steve knew that entering on a camel would gather TV momentum, and word spread very quickly about his wild entrance to the ‘Fade to Grey’ album launch.

Ultimately though, awareness and success in America was mediocre for Visage, besides their very underground following. This was possibly due to the very early launch of MTV, and the fact that very few people ever saw the ‘Fade to Grey’ videos in America.

I asked Steve what he thought of the many, many commercial acts that are lauded and celebrated in America, and he was quick to agree that musicians have become a commodity.

“The music industry is such a shark infested territory that they don’t really care for the person, and after an artist gets their 5 minutes of fame, they definitely don’t set the artist up for how to deal with knock backs and let downs. The success that I had, looking over the one regret I had was that if I had stayed with my first manager I think I would have been much more secured and I wouldn’t have had to go through what I went through with my drug hell, and that was basically because I hadn’t been sat down. My first paycheck was 350000 pounds and I just thought ‘This is the way that popstars are paid! This is amazing!’ and no one sat me down and told me to invest. The money I was making from the record industry and the clubs, realistically if I’d stayed with my first manager I would have been set for life. But they only saw me as a money-making commodity, and realistically no one can be in four countries in one day without some sort of stimulant.”

Moving on from reflecting on the past, Steve has quite a lot going for him at the moment. “In 2012 I’m really looking forward to the long-awaited fourth Visage album with the original line-up, and my solo project the Detroit Starrzz, the Detroit Starrzz album will be finished [this past January].”

Steve Strange’s influence from the young age of 13 has had a strong effect on the music we listen to. He was the kid that hung out with the Sex Pistols, worked with Bowie, entered his album launch in America on a camel’s back, jet-setted around the world, and has more stories to tell from a five or ten year period of time than most people do in a lifetime.

He’s truly a legend, and we’re really excited to see and hear what Steve will come up with next!

124

facebook.com/SocietePerrierDubai

KAYO DOT ALBUM: GAMMA KNIFE GENRE: UNCLASSIFIABLE RELEASE DATE: 4TH JAN,2012 LABEL: SELF RELEASED (BANDCAMP)KAYODOT.BANDCAMP.COM/ALBUM/GAMMA-KNIFE

Since Maudlin of the Well’s quietus over a decade ago, Kayo Dot, the phoenix rising from that project ashes heralded by Toby Driver has been constantly and consistently creating the most challenging and intriguing records the constantly evaded classification. From the orchestral metal/post rock-ish drizzled onslaughts of Choirs of the Eye and Dowsing Anemone With Copper Tongue , to the mourning avant-garde aesthetic of the conceptual Coyoto and the drone driven Stained Glass E.P; Toby and Co.’s music continued to march towards markedly arcane and erratic in concepts and ambitious in scoop. With Gamma Knife, we witness a cohesive construct borrowing elements of the every point of the band’s history, with a notable return of metal inspirited drums and vocals. Recorded mostly in front of a live audience at Littlefield in Brooklyn, NY in 2011, the album begins with “Lethe”; a subtle Georgian chant that trick you into sinking into an a tranquil setting through its melancholic bells and solitary string sections ,only to perform a sharp 180 degrees with the churning guitars of “Rite of Goetic Evocation”, creating a frenetic surrounding with its jazz-meets-death metal drumming, the explosive alto sax portions and most notable of all, the menacing and barely audible growls that constantly

ride through the remainder of the record as one track leads to yet another complex on before the gentle piano driven Title track, with Toby’s voice gently ushering you towards oblivion as a gentle guitar noodles alongside. The result: the colossal magnitude of sounds being pumped into the music can be utterly unnervingly at times, with an incredibly interesting call-and-response of such between all the instruments being utilized. The tightness of the band riding such free form songs is splendor to behold and marvel at, creating a markedly resonate addition to a band’s catalogue that is unlike any other. Kayo Dot is certainly not a band for everyone, and they never tried to be, always focusing on realizing their full potential. If there was ever a “sit your damn ass down and just listen” band, it’s certainly them. Gamma Knife is as challenging as any in their discography, and at 32 mins; it’s the shortest full length by the band. But while that can be viewed as a negative, the band utilizes it that to create a fully realized and profoundly precise piece that is fully both perplexing in and concise. When December 2012 rolls around, don’t be too surprised to see this in many a Top10 lists.

MOHAMED EL AMIN

MUSIC KAYO DOT

126

It was a complete chance encounter that I happened across The Dry Sea (formerly the Dry Season), an experimental/psychedelic band hailing from Baltimore. A4 piece project, I met drummer Edward Barakauskas , during All Tomorrow’s Parties annual NY festival in 2010. After bantering back and forth over our excitement to Sunn O))) & Boris performing Altar, Edward handed me their first E.P.; Dry Season, which I immediately spun upon returning to Dubai, becoming instantly wowed by the band’s post rock tendencies and sound. And while Eromi tlab features 2 songs from that EP, is an entirely different affair altogether, with the band reworking the elements and altering the sound into a more urgent approach, elegantly showcased by the opener “Breastmilk”; where a gentle noodling guitar fit for a Morricone score instantly blooms into a rapid firing escalated guitar driven monolith. And throughout the E.P., the band evokes such a resounding air of confidence highlighted by their variant sounding and markedly themed songs, from “Singe Jangi” showcasing an oriental/middle eastern guitar plucking (which I can’t decide yet!) that explodes when all the band members blend their instruments together in an overwhelming climax, to the manic “Danger” with its fast paced post hardcore drumming spiraling into a sludge like composition (with the most awe inspiring use of snyth that I’ve ever heard). The band focuses its instrumentation on propelling the compositions forward, balancing the dynamics between pulsing smoothly and erupting explosively, all the whole sounding as an outfit with half a dozen releases under their belt. Eromi tlab is the kind of record you wish every band would make: a fully realized effort by an extraordinary band that grasps fully its abilities, challenges them to further its ambition. Simply put, it’s a resoundingly vigorous and revitalizing affair, and one that you cannot possibly tire from.

ALBUM: EROMI TLAB (E.P.) GENRE: EXPERIMENTAL RELEASE DATE: 7TH JAN,2012 LABEL: SELF RELEASED (BANDCAMP) THEDRYSEA.BANDCAMP.COM/ALBUM/EROMI-TLAB

MOHAMED EL AMIN

THEDRYSEA

Well, do you really have a choice? When you open up a can of freshly purchased mixed nuts and you find that most of them are regular old peanuts. Where are the hidden gems: the almonds, or those brain look-a-likes the walnuts? Well the truth is, you bought a can of mixed nuts and nowhere on that can did it mention the proportions. You decide to scarf them down anyway, and in the end you know you’re pretty satisfied despite an initial disappointment. Bad analogy to open up an article about the new Opeth Album called Heritage but I’ll elaborate a bit further don’t worry!

I now need to tell everyone to stop complaining. By everyone I am referring to all of those readers that are quite familiar with Opeth and what it is they do, which is take you on a magical up and down purely mind blowing metal journey. You see, what you expected was a can of equally proportioned mixed nuts and when you opened up the latest Opeth offering you found what appears to be mainly peanuts. True to my nature, I beg to differ.

OK, so you have a point here, this is definitely not the usual Opeth mixture of death screams and melodic lyrics set to an extremely groovy and punishing musical background, but what lies beneath is certainly nothing to write off as regular old peanuts.

If you’ve been following Opeth over their 20+ year career then you’ll know that they’ve come a very long way from their debut, Orchid and have spanned everything from concept albums to the current Heritage, which does not feature a single death growl. I know that will turn many fans off right away but remember

that every band must progress and what has come out lately is absolutely “hair on your arms standing up” beautiful. It really is. You just can’t see it because you are so used to a current offering. You’ve been set to stun mode.

Mikael Akerfeldt is an incredibly talented musician that has taken this band forward while remaining the only original member of the band. The last Opeth album was also much more melodic than Heritage, which means that the full blown rock and roll psychedelic offering shouldn’t be a huge surprise. And stop your grumbling about them “selling out” to the larger masses of listening tastes. I highly doubt their shooting for a radio #1 hit when the songs are still 6 minutes plus. Nobody, other than people that appreciate progressive music as an artform, is willing to sit through obscure time changes, flutes, guitars, Spanish guitars, and electronic keyboard samples on a single song unless they appreciate music as art. Music can be more than just a talking piece between your friends to make you sound cool. This is real stuff here and it should be appreciated like a fine piece painting or sculpture, as one piece.

Now, let me tell you just how to digest this beauty of an album. First, you must ban yourself from any Opeth for a couple of weeks, and then one day just press play on Heritage and go from start to finish. Begin by letting the piano introduction song take you up and down, and then prepare yourself for a mixture or melodies that when intertwined becomes one mega production of beauty.

If you’re looking for that singular song to take you away, I suggest you look to another album to be able to do that for

you. This must be appreciated together from start to finish as one massive Opeth song otherwise you’re going to be sitting there wondering what the hell happened to your beloved Opeth.

The more you listen to this album, as you would with a vinyl record, the more you will begin to hear the styling and influences of the 70s giant rock bands. I hear church organs, I hear hammering bass lines and I hear guitar licks that remind me so much of Richie Blackmore its almost unbelievable. Add some Led Zepplin anathema style lyrical deliveries and, then to make sure that you are reminded that this is an Opeth Album, the usual mixture of styles and what is handed out is sheer 70s rock majesty.

This album is a return to the days when boys and girls used to sit in their room and let a piece of vinyl take them on a spiritual journey, a sort of psychedelic journey with art music as your fuel. I, for one, just love the idea and am a proponent of less plastic garbage pop music and more album based journeys the likes of an Opeth Heritage. Notable spiritual highlights on this album are certainly The Devil’s Orchard, Nepenthe, Haxprocess and most notable The Doors like riff on Folklore. This is an absolutely stellar album, which is to be expected from our dear Swedish friends Opeth. Different but needs to be appreciated on a scale of its own and in comparison to the 90% garbage being released into the world these days. This is a can of mixed nuts I can assure you. This isn’t peanuts you monkey!

AlbumReview

by TrevorBundus

MUSIC OPETH

128

As a producer/DJ living in Dubai the commercialism of the music scene here is always at the forefront of my mind and often I assume that Dubai is an anomaly amongst global urban centres, but it’s not, and ultimately there are like-minded people in cities around the world striving to push the quality music that isn’t often played in mainstream clubs. The Beirut Groove Collective is a group of DJs doing exactly that in Lebanon. In a city where chic rooftop venues and table service pleases the norm, they strive for the alternative where good music is at the heart of a fulfilling night out.

MUSIC BEIRUT GROOVE COLLECTIVE

130

So first up, please elaborate a bit on what you do and which DJs, musicians, and artists you work with in Beirut.

As a collective we organise underground parties with vinyl-only sets of funk, rare groove, hip hop, disco, afrobeat, and all kinds of Afro-American music with cultural depth. We work to introduce new notions and concepts to the Lebanese audience through our music with the collaboration of Beirut-based visual artists and filmmakers. The Beirut Groove Collective is a DJ collective co-founded by two Lebanese DJs, myself and Stickfiggr, with a cultural focus that is reflected through side-shows such as dance performances, live music acts, and visual arts such as paintings, photography and animation. We wanted to establish a non-money orientated alternative party, which doesn’t exist in Beirut. Our musical taste is at the centre of what we’re doing; you might say we’re non-conformists in Beirut’s nightlife scene.

We’re expressing a form of art with a soul, our true thoughts of what a music event can be. In other words they are very intimate events. This is very essential for us to grow as a community of artists where we collaborate to form a healthy platform, that has nothing to do with the logic of the market that’s killing the soul of music. For us dance music has nothing to do with playing pop hits; for us dance music is synonymous with fat beats, wild riffs, loud horns that let you dance your troubles away. This collective is much more concerned in preserving this tradition of music as an art form, not as a commercial form, in the tradition of Duke Ellington, Count Basie, James Brown, Ray Charles, George Clinton and so on. We also care about decent forms of contemporary dance music that express a social cause or have a social contribution.

As a collective so far we collaborated with local and international artists. Local artists we’ve worked with include hip-hop artists and MCs such as Fareeq el Atrash, Edd, Chyno, Beirut Bandits, Ram6, RGB, Zoog, FZ. We’ve worked with Beirut based DJs such as the local turntablist, DJ Lethal Skillz and the BGC family which includes Brother Jackson, Heavy G, DJ Yukkah, Duby1, Natalie ‘Baby’ Shooter, Masa and DJ Wah. We also put together the hip-hop, drum‘n’bass band Mudbone with Jeremy Chapman on the saxophone, Marcel Chalhoub on drums and the bass player Johnny D. We also worked with other musicians such as Miles Jay on upright bass.

We worked with Zeina Hanna, a contemporary dance performer, filmmakers Ghayyane Al Amine (Shortfuse) and Helena Forcel (HF Media), photographers Josette Yousef and Martin Ytterik, and painter Tom Bone.

We had a lot of important headliners that came and supported our BGC event just because we shared the same ideology of music such as DJ Nickodemus (New York/Turntables on the Hudson), DJ Martin Jacobson from the Danish DJ trio Den Sorte Skole, DJ Scandles (New York, Chyno Lo and the Liberation family) DJ Solo (Dubai/Another Music), James Locksmith (Australia/Jembe Music), and Ramsay Short – one of the pioneers of funk music in Beirut and an early supporter and representative of the BGC, part of the family. The BGC also opened for the legendary electronic hip-hop funk band the Herbaliser and personally I’ve opened for Jazzie B and Quantic to mention a few.

Your mission statement mentions rejuvenating the Lebanese funk scene. How influenced was the music scene in Lebanon by American funk of the 70s, and why did the scene disappear?

As an archivist and record collector who’s been digging for years in Lebanon’s crates, the hip music in the 70s was mainly more psychedelic and rock based, meaning that in the 60s most of the local bands played this style. We had a very famous psychedelic band called The Cedars who recorded with Decca. There were lots of bands who were more into psychedelic, rock, garage and pop, not funk. Funk wasn’t really popular besides the hits of Ray Charles or James Brown that you would find in the jukeboxes of the Discotheque in Beirut.

There wasn’t a live Lebanese funk scene. In the late 90s we were struggling as funk DJs where electronic and commercial pop ruled. We didn’t really rejuvenate the funk scene so as much as we created it. A proof of this is that we started our parties with less than 30 people and now we bring in 500 or more in small underground locations, non-conformist, unknown and more promoted by word of mouth. Our crowd grew organically. It wasn’t so much a trend that we got into, more we were looking for a ground where we can express our musical influences. Rami and I come from two different backgrounds…he comes from hip-hop as a turntablist and scratch DJ and I come from jazz and rhythm and blues. Not to forget the efforts of DJ Ramsay Short and Lethal Skillz in the late 90s who were spreading the funk, hip hop, soul, and disco in Beirut.

As long time DJs in Beirut’s clubs and bars, when we started the BGC events back in 2009, we were looking for a platform where we could play our deep thoughts and beats without a care, rather than having the club owner asking for commercial hits.

Considering that funk music wasn’t readily available in Beirut, where were you first exposed to it?

Really, I was exposed to funk through a natural development in my musical personality. When I first started collecting records at 13 years old, I remember there were no CDs around, mainly we had tapes and records. I recall my first paying gig at the age of 16 I was a tape DJ playing blues and R&B. When I first started collecting records and tapes I was into R&B such as Ike Turner, some boogie such as John Lee Hooker, blues such as Peter Green, John Mayall, Ray Charles, James Brown and later on I got into jazz such as John Coltrane, Miles Davis, Wes Montogomery, George Benson and Count Basie. Once music hits you, it turns you to a hungry beast, always chasing after new sounds and you never get satisfied. It’s more like an obsession and you want to fill some desire. The more you dig the more you discover, so my tastes naturally led back to the roots.

Like any other DJ you’re always refining your tastes. Once you have an elaborate knowledge of the roots of the music you’re into, then you begin to shape your tastes. You can look at contemporary records, know them better and find your style. It grows into a dilemma between modern and roots and the sound you’re chasing. As a DJ who wants to play dance music, funk to me was the ultimate form. To me, James Brown the godfather of funk music is an evolving form of swing and big band music.

I’ve heard that there are Lebanese funk covers of American artists such as The Jacksons that have been used for TV etc, have you ever come across any of these?

I don’t recall any specific covers but I do recall a sample of Isaac Hayes, Shaft tune being used in the intro to the news on TV. I was very young whenever the news came on. At the time I never knew who it was by but I was astonished with the sound and drawn to it. I always wished it would last longer.

Which Lebanese funk bands would you recommend we lookout for?

Here no funk bands exist, it was only exposed through our efforts as DJs in the late nineties. Professional bands here are based in jazz music and blues.

Who are your favourite contemporary Lebanese musicians?

From my experience putting local bands together for international jazz artists that I invited to play in Beirut, such as Ryo Kawasaki, Ed Cherry and Melvin Sparks, the musicians I learned from and respected their professionalism were Fouad Afra as a drummer, Arthur Satyan, jazz pianist and organist, and Aboud Saadi the bass player. These for me are some of Beirut’s best and most professional musicians. Local bands that have been working to create their own space among the hip, young generation I think have had some influence in independent pop music such as Zeid and the wings add to that the rock band Lazzy Lung who are doing a good job.

You’ve got pretty strong reputations for being hardened vinyl collectors; care to share your favourite finds and how you came about unearthing them?

I’ve been collecting records for more than 15 years and have over 10,000 records. I’ve come across lots of great findings thrown in a dusty garage, an attic, old jukebox places, some bankrupt closed radios or night clubs from the 70s, a discotheque, a wife who’s selling her husbands’ record collection after his death or a furniture junk yard, since in Lebanon record stores disappeared completely in the late 90s. They vanished so it was very hard to look for records but there are still lots of precious findings because Beirut was a centre of music. I found 100s of rarities in Lebanon among them are Fela Ransome Kuti and the Africa 70 - ‘Shakara’ which was an orginal Ghanan release I found in an old furniture junk shop, also Mamadou Doumbia and his ensemble including Fred Wesley on trombone, with a 002 print number, The Jazz Giants featuring Wild Bill Davison, Buzzy Drootin, Herb Hall,

MUSIC BEIRUT GROOVE COLLECTIVE

132

Claude Hopkins, Benny Morton, Arveel Shaw, signed by all of them found and The Revolutionary Ensemble Manhattan Cycles at the flea market.

Who would be in your dream line-up in a gig on planet Earth?

I’d get DJ Smash, Gilles Peterson, Jules Deelder, Florian Keller, Keb Darg, Norman Jay and DJ Spinna for one hell of a line up.

Who would play in your dream line-up in a gigin Heaven?

In heaven I don’t know, there’s no use to dead people. I don’t like to think of people it’s impossible to put together. I’m not interested in Zombies spinning.

Grassroots movements of any form take a lot of hard work but you are steadily breaking new ground and gathering more and more followers. What are your plans for the future?

What you’re saying is very true since we experienced it without ever intending to build a mass following. We always had the urge to keep our audience satisfied since it was growing and growing. We came up with the ideas, Rami and I as the co-founders alongside with essential members and collaborators such as Jackson Allers (a journalist, filmmaker, and hip hop promoter) and James Locksmith (DJ and music promoter) to enhance our event with international DJs and live acts that fit with music ideology, express our ambitions and expand our experience and knowledge. We are planning on bringing to Beirut Florian Keller (Compost Label, Munich), Oddisee, Cut Chemist, DJ Maestro (from Blue Note label) just to name a few. Our collective by nature is selective. It’s a natural-born underground event because of the nature of the music we express and represent, so our expansion may be limited. We would like to continue to expand for sure as

any other music collective and we’d like to continue to share experiences with other-like minded DJ collectives and event organisers outside of Lebanon such as Dust and Jembe Music. We’re planning a BGC event in April in Hoxton Gallery, Shoreditch, London where we’ll be starring Stickfiggr, Ramsay Short, Tom Bone, and myself.

What can people expect from your gig in Dubai?

They should expect funk, rare groove, fat beats, horny horns, and a unique Beirut Groove Collective experience on the Dubai dancefloor. Make sure not to miss the opportunity of experiencing the real underground Beirut music.

Anything else you would like to add?

As we say in our collective ‘Only dead fish go with the flow’. We’d like to thank Dust and Jembe music for inviting us to Dubai.

Ernesto Chahoud and DJ Stckfiggr of The Beirut Groove Collective played at DUST at The Music Room in Dubai, Friday February 17th. For more information visit www.dustdxb.comFollow Wriggly Scott (aka DJ Solo) on www.twitter.com/dj_solo

MUSIC PRISM

BY ZAINA SHREIDI & FARIS AL GHUSSAIN

134

Prism is a monthly club night based in Dubai. Residents Puzzl, Essarai and Ian Yeti play a broad range of experimental underground dance music. They describe the night as “a place to get away from commercial music and dive into something much deeper.” Essaraj is hoping Prism will encourage producers of the “niche” and underground music to make more songs of the genre.

“We’re all about roots, beats and bass culture progression, and want to make a home for it in Dubai. This new sound comes from when dubstep went mainstream, so it has roots in urban dance music, along with influences from techno, house, garage, dub and more. It’s been around in the UK and the rest of the world for a few years now, but this is a first for Dubai.” By opening Prism, Essaraj, Puzzl and Yeti aim to increase the awareness of underground music and support the community of the genre.

MUSIC PRISM

How did Prism get started?

Ian Yeti: To be honest, the three of us have been talking about doing a night for a long time. Danilo (Essarai) and I met through his blog (deliberate.com). From the tunes he had on there, it quickly became obvious that we had extremely similar tastes in music so we began to talk. Daniel (Puzzl) and I met in a lift when he noticed a sticker on my record box!

Essarai: The plan was either hatched at the Freshly Laced parties, where we all hung out, or at one of the many ridiculous after parties. Either way, the idea hads been simmering for long time.

I: At those nights I used to play a handful of bass tunes and we could see there was a small crowd of fans for that type of music. At the same time Puzzl was running Z Space, an online radio show (inthemix.ae) which had a growing number of listeners keen to hear this type of music.

Puzzl: So after talking about it for ages we just decided to do it, and I kicked it into action. We were all fans of the dark, moody space that is Catwalk, and it’s got a decent sound system, so that was it. We all just love the music and wanted to make a space for it to be heard. It’s a combination of garage, techno, house and dub. It’s deep, hedonistic and very physical. The beats vary from 4x4, through soca-carnival styles and 2-step. And there’s lots of bass!

E: There are so many names for the types of music we’re into, I love genre names - it’s a joke really: bass music, techno, garage, grime, roots dubstep, dancehall, laser bass, wonky, 130, deep house, eski beat, UK funky, halfstep. At the end of the day, who cares?

What do you want to achieve with Prism? Where do you see it going?

E: We just want to play tunes that we like, really, music that isn’t often played in this region. Hopefully we can create an interest for people to start producing more of this kind of music out here. There’s so much exciting stuff coming out at the moment.

P: We wanted to create a space to have that music heard. A dark space to give the underground heads a place to rave and a place to skank. A place to get away from commercial music and dive into something much deeper.

E: In terms of future plans, we’re just going to let it grow. We’re not going to get all of Dubai into this - it’s not music that everyone likes. But for those who do, and for those who are interested in similar music, we just want to...

I: Grow the scene, and give a platform to support upcoming DJ’s and producers coming out of the region.

P: What we play is niche music. It’s not popular music by any degree, but there’s an ever growing following for it.

E: Yeah, only a handful of the tunes have ‘someone talking’ on them...

Has the Dubai music scene changed? How is it evolving?

E: To be honest, over the last two years things have changed for the better. People like DJ Lobito with Deep Crates and the breaks scene; Megadon Betamax, DJ Solo, James Locksmith, and our own Yeti with the Dust parties, the Desert Party crew, the AudiOasis Crew: Somalie, Mr Gremlin and Kymera; the extended Bass Face crew, the House Arrest folk, the Optidelic Sessions crew in Abu Dhabi, and the Ill Communications and Warped boys are doing interesting

things with slightly less commercial events. And that’s having a broader impact. We see ourselves as part of that change. And it’s very positive.

P: I see it evolving through social groups and friends of friends. Word of mouth carries the reputation of good music and a good scene. So I see it evolving through social groups and the sound itself, mutating like a virus.

I: I’d love to see more producers and releases come out of the region. It’s a great feeling to be in a club and hear tracks from Essarai, or releases on my label Ten Thousand Yen getting a strong crowd reaction.What’s the hardest part of being a collective? Is it fun to come together and do something creative?

P: It’s the legal constraints of DJing in Dubai; DJ licensing is a problem for the whole music scene out here. It’s very restrictive for music lovers who want to hear good music in an independent space.

E: There’s also a definite lack of small and medium sized venues with quality sound systems, which is a problem when it comes to creating the right atmosphere or vibe that’s complimentary to the music.

I: For me, I’ve always loved the scene-building element of what we’re doing here, and Prism feels like the culmination of a few years of pressure building. When I first got to the UAE, there was nowhere you could go to hear Dubstep, let alone the music styles closer to what we play. Four years later, and we’ve got a dedicated, up-for-it crowd who love the music and are excited to hear fresh sounds.

E: On a more positive note, the lack of stress involved in what we are doing at the moment makes it feel very natural, and I think that’s most important. It’s just amazing to be able to share the records we’ve been collecting over the past couple of years and hear them out, smashing up dance floors.

P: We just love coming together every month as a group and getting into music together. There’s a real energy and buzz in the booth - If you come to the club, you’ll see what I mean.

What are your top five tracks at the moment?

ARTIST - TRACK - LABEL

Essarai: 1. Boddika - Acid Battery - [K7]2. BLACKWAX - Offkey - [Tube10]3. Pusherman - Shake It Off - [LNUK Records]4. Mickey Pearce - Don’t Ask Don’t Get - [SWAMP81]5. Mosca - Done Me Wrong - [Numbers]

Ian Yeti:1. Doc Daneeka & Abigail Wyles - Tobyjug [Ten Thousand Yen]2. Machinedrum - SXLND EP [Lucky Me]3. Sepalcure - Breezin [Hot Flush]4. Doc Daneeka & Benjamin Damage - They!Live LP [50 Weapons]5. Ghost Mutt - Sweat Mode [Donkey Pitch]

Puzzl:1. Joe Goddard feat. Valentina - Gabriel [Greco Roman]2. Joy O - Elipsis [White Label]3. Keudo - Onset (Escapism) [Planet Mu]4. Karizma - Outta Kontrol [Defected]5. Holy Other - Touch [Triangle]

136

EVENT - SWEDENEvery February, all of Sweden gathers around their television screens for what is, hands down, the country’s most popular event: Melodifestivalen. Literally ‘The Melody Festival’, it is a glittering six week extravaganza of fireworks, wind machines, and costume-changes. Oh, and there’s a bit of music as well. The best Swedish artists and songwriters all clamour for the chance to compete and while it may appear as a simple song contest on the surface, it has over the past 50 years, imbued the Swedish consciousness so indelibly that it has now become an inescapable part of the cultural landscape. The festival has already started and you can catch it live every Saturday online. To find out more, scan the code and try not to get swept away by the wind machines.

France has Europe’s summer hit sewn up. ‘Echo (You & I)’ by acclaimed chanteuse Anggun is a dreamy, sun-soaked number with a soaring chorus that will not fail to lift your spirits. It put a smile on my face the first time I heard it. It has been composed by William Rousseau & Jean-Pierre Pilot, who are France’s chart-topping songwriting duo du jour, with production honours falling to Veronica Ferraro, better known as David Guetta’s collaborator. This impressive team is fronted by Anggun’s incomparable vocal. That’s some serious French pedigree, so I expect plenty of people will be whis-tling ‘Echo (You & I)’ in the coming months, helped in no small part to the insanely catchy whistle hook that’ll worm its way into your brain and refuse to budge. You have been warned. Scan to listen, then practice your whistling.

Theocharis Ioannidis is an up-and-coming Greek performer who is prepping for his first foray into music. What’s really interesting about Theocharis (Theo for short) is that he’s gone for a modern dance sound that is currently very popular worldwide, but creates subtle Greek-flavoured nuances to make it unique enough to give his brand of music its own flair and identity. One great example of this is his new single ‘Edo Mazi Mou Meine’, which is a suave number combining traditional Greek instrumentation and modern dance beats. Scan the code to check out the music video that may, or may not be, safe for work. It’s too early to tell, but in my opinion, Theocharis Ioannidis seems to be all set to become a major force in Greek music and a most welcome addition.

SONG - FRANCE

ARTIST - GREECE

MUSIC A SONG FOR EUROPE

138

ATLAS SOUND – MONA LISACHELSEA WOLFE - DEMONS EMA - MARKEDI BREAK HORSES - I KILL YOUR LOVE, BABY!JOHN MAUS - STREETLIGHTDIRTY BEACHES - TRUE BLUE YUCK - THE WALLICEAGE - YOURE BLESSED

1.2.3.4.5.6.7.8.

LITERATURE SHAPE OF THINGS

DESIGN BY KRIS DOZIGN BALERITE

140

Understanding the universe is an uncomfortable affair. It requires you to abandon common sense, and let go of your acquired notions of order in Nature. Contemporary Science is slowly revealing to us that everything that was, is and ever will be is borne out of pure disorder and randomness. The crashing of invisible particles, the birth and death of stars, the expansion of space and the strangeness of time - these are all manifestations of the nature of Nature. The frontiers of our knowledge are anchored to one very terrifying concept. That is, Uncertainty is the most powerful force in the universe, the mother of all creation, the architect of existence.

So it is quite bizarre that out of all this mess, we observe indescribable beauty in a seemingly orderly world. The idea of chaos connotes destruction, madness and the unravelling of unintended events beyond any control. Like a drunken weekend or a missed deadline, we were conditioned to fear it. Chaos is supposed to be feared and loathed, and order was something to revered. That’s why nobody likes that broke, bearded cousin without a shred of stability in his life. Nobody likes driftwood.

Yet underneath it all, driftwood is exactly what we all are. In the grand scheme of things, we helplessly drift at the whim of something called stochasticity - random, unpredictable trends. Ever heard of the “butterfly effect”? Sure you have, thanks to the scientific contributions of Ashton Kutcher. Coined by the mathematician Edward Lorenz, the butterfly effect suggests that the flapping of a butterfly’s wings thousands of miles away causes perturbations in the environment that eventually lead to epic consequences here, like a sandstorm. It is a powerful idea - that something so insignificant as a butterfly hovering from one flower to another could change the world. It hints at the chaos in the clockwork. Nothing can ever be predetermined because the factors that affect change are extremely fragile and sensitive. This is chaos theory, and it is one of the greatest artists anyone has ever known.

Certain properties of the universe exhibit a quality that, on the outset, seems to be quite orderly. But at the very core of its order is unadulterated chaos left to its own devices.This particular quality is known as “self-similarity”. Visually, it manifests as a whole resembling its individual parts in shape and form. Googling “Koch curve” and “Koch snowflake” will reveal this mesmerizing phenomena.

Probably the most amazing of geometric shapes that possess self-similarity is the fractal. Some people will be familiar with the Mandelbrot set (named after famed French American mathematician, Benoit Mandelbrot, who also came up with the term “fractal”), a geometric wonder with individual parts mirroring images of the entire shape when zoomed in. Like feedback, zooming into a part of a Mandelbrot set reveals a looping similarity that appears to go on indefinitely.

Even more captivating is the wonderfully named Julia set (formulated by mathematicians, Gaston Julia and Pierre Fatou). In the simplest of explanations - we are, mind you, dealing with math beyond our high school calculus league - the Julia set is a shape defined by mathematical functions that are highly sensitive to change. Change one tiny detail, and the entire shape takes on an entirely different form. It was a progenitor to chaos theory, and an excellent illustration of how small changes can possibly affect an entire world. Zooming into a Julia set is like diving deeper and deeper into a galaxy of colours and swirls, all created by math that reacts to change like a living thing responding to its environment. Stoners love this stuff.

So there it is - science translated as art, blurring the line between the two in ways that seem to transcend human thought. In a universe that is in a constant state of flux, chaos is the only constant. Things change and the reasons aren’t as clear as day. Yet out of the ashes grows beauty that follows rules and begs the question: is there really such thing as order and chaos, or have we coined one term too many?

INTERLUDE

It is clear from recent posts that internal discussions are my norm. They are a loyal and unremitting source of comfort and consciousness. To quote a good friend of mine:

‘tune into the mental dialogue, enough to hear exactly who’s voice it is. It can be your mom’s, dad’s, grandparents’, siblings’, old lover’s, childhood friend’s, or anyone else.’

I find that amidst chaotic drama, when the heat of pressure is scorching and the emotions are high, voices of people who have affected my life emerge as a back of house whisper, clear enough to cut through the commotion and madness of the current moment (never more than during my past week as an intern/slave). Most often than not, I will recognize the voice, and be fully aware of who’s shared wisdom is connecting my life’s dots.

Seldom do these people realise that their own life’s reflections, or the decisions I was a bystander to, never actually left me. I watched, I heard, I learnt and now I am growing through them. Again and again I say, and I can’t say it enough, the people you choose to surround yourself with is a defining factor in the person you eventually become. Without fluffing my feathers too much, looking at my peeps makes me wonder if there’s been a word created for the degree awesomeness I am about to hit. They’re going to call me Chef Awesome.

DAY SIX15/06/2010

Today Obama hated me. His cool and calm demeanour turned cold, and his facial expressions were no longer pleasant. I sensed that I annoyed him, and I knew exactly why.

See, it’s my second week interning here and it hit me that I am no longer ‘under’ anyone. Perhaps they’ve set their expectations a little too high for a humble little slave struggling to prove her competence or maybe they haven’t and I’m quite simply, underperforming. Either way, I feel the thriving level of respect I was earning, slowly turn into disappointment and annoyance… ‘Siham needs to pull her shit together’ bellowed the red light in my head. Adding insult to injury,

I was scheduled to fly off to Rome for a week of luxurious debauchery and sinful extravagance. Besides the severely imbalanced equation of being a slave with the option of turning into Cinderella overnight, an overwhelming decision had taken over my mind. Basically, and excuse my French, but nothing described what I needed to do better than the very wise words of a good friend; this week Siham needed to ‘Rock out with her C*ck out’. These people needed to miss my presence, they needed to miss my face. It was crucial that I outperform them all and that I remain the last one standing, when all was said and done (damn I wish they had a Viagra for this).

Current status – not rocking. fullstop..........................................................................................

Let me tell you more about life in a French Kitchen; it is breeding grounds for colossal thoughts and major trippage, a heavy misfortunate for thinkers and trippers, such as myself. Did Obama come a little late to see if I could check orders and start-up without him? How could they possibly think I didn’t understand that internal joke about me? What, suddenly I don’t speak French? Damn.. why is the chef so mad today? Didn’t life teach him the ‘what angers you controls you’ lesson? I wonder what past struggles have pushed him to develop this eerie anger problem… Stop it Siham. Concentrate on your carrots, you’re going too slow, the beets are next. Maybe his father used to mistreat him or his mother was an abusive alcoholic… must’ve been.. the thoughts went on.

I find it strange how I need to juggle so many emotions all at once. Picture this; I’m at my station feeling guilty about my f ups getting Obama in trouble, I run to fetch an ingredient and I’m forced to conjure up doe-eyed sweetness, so the chefs flirting with me don’t sense non-existent-but –assumed arrogance from yours truly. I return to my station only to bow my head in humility and apologize to mis-en-place because my station wasn’t perfectly cleared… The above takes place in no more than 2 minutes. I had to approach each person encountered with the correct emotion and stance, while maintaining my cool and doing a fantastic job. Oh, and all in the kitchen jargon version of French.

Honestly people, if I don’t rule the world after this, I don’t know if I ever will.

LITERATURE THE KITCHEN SLAVE

142

JANUARY 16 by LAMA HAYDAR

Twenty seven days of pacing back and forth to figure out whether to write or to ignore.

Twenty seven steps between this cold bed and the door where you should have been less aggressive entering and more delicate running from.

Twenty seven hours a night of wondering what I have done for my love to hurt me like that, twenty seven unanswered questions of how could this love not have been love.

Twenty seven useless limbs that don’t want to wake to surrounding memories, twenty seven cancer cells that don’t want to sleep with recurring dreams.

Twenty seven rivers of tears that carried away little castles and road trips and kisses, twenty seven seas of sorrow that drowned little sail boats and dark corners and smiles.

Twenty seven cruel thoughts of how easy you replaced Beirut and how nothing of a story you made out of me, twenty seven books I won’t read, twenty seven songs I can’t listen to and twenty seven spots on the map I refuse to drive near.

Today, for lack of use, for better wishes for you, for Cha-ron and the old man, I gift you the last living twenty seven pieces of a broken heart, where you always shine... a last writing you expect, where I willingly, tenderly, lovingly and happily let you go.

Happy birthday.

Jorj A. Mhaya has quite a unique personality, with a brush stroke of a pure spirited genius in the world of BD/Graphic novels, and the sketching of some utterly fictional characters which are brought to life by the power of his moving and ever emerging imagination. Always trying to scrap off the crust of the things which seem to us plain and shady, he gives life to a whole new wonder world with such a powerful insight and a legitimate voice.

In the first edition of his book, ‘Madina Moujawira lil Ard’ (a graphic novel), Farid, a lost character searching for his missing family and home is portrayed with an intense feeling of alienation and bewilderment. Along the way he meets up with a combination of bizarre people roaming through the streets of a harsh looking city, which to a great extent represents his hometown. Making the journey through the suburbs and alleys, he learns about the wretched place and its domesticated inhabitants with all the kinds of nightmarish existence lurking just around the corner. What will Farid find out along the way? And how will the story end?

All the characters in the story are delicately chosen for their own nature, each one tells a story of its own qualitative phenomena of what’s going on with a sense of indirect realism, thereby giving the plot edgy yet smooth tides. The essence of the whole book, can be clearly observable after taking your first glimpse at the cover, a jaw-dropping piece of artwork crafted with patience and a great deal of crea-tive visualization, dipped in a very overpowering sense of assertiveness to interpret the overshadowed borders of our reality.

Dear reader my advice to you is simple, enjoy the book.

MADINA MOUJAWIRA LIL ARD by MIKE KIRAKOSSIAN

LITERATURE MADINA MOUJAWIRA LIL ARD

144

A payphone. A port. A soul-searching talk.A hand worn. A wired heart. A crumpled tissue note.The underdog. The butterfly. A helicopter rising by.An iron burn. A gesture rose. A whispered song sung unknown.96. Drowned by pride. Prove me right, do you mind? A canvas print. A parting flight. Moments shared without a price.A picture drawn. A fancy mess. The sand, a star, an arm to rest. A brownie made. A food to taste. A hidden beach, the only place. A single day. A first kiss. Nothing more, nothing less. 11:11. Drowned by pride. Prove me right, do you mind? A confidant. A mother met. A soul forgiving to be missed.A fever held. Hot raisins made. Silly games that were played.Breakfast shared. A note in roses. Far too many outside forces.A t-shirt printed. A shell still kept. A ferris-wheel promised mend. Once, again. Drowned by pride. Prove me right, do you mind? A daily trip. Donated blood. Always picked on; defended none.A hospital. A kidnapped lunch. Holding hands on an empty bus.A painted face. A night long drive. Now two strangers walking by.Promised words. Actions played. Invading minds day by day. A heart still pumping. Drowned by pride. Prove me right, do you mind?

ROXANNE MYBURGH

A PAYPHONE.A PORT.A SOUL-SEARCHING TALK

by ROSS GARDINER

THATBLACKJUMPSUIT

She was sitting with her back to me, looking into the mirror. I was sat at her desk, trying to draw something. Every now and again I would look to her to check if she was looking at me. But she just continued applying eyeliner, fluttering her long heavy eyelids now and again. I was tempted to tell her that she looked better now that she did when she started. But somehow it didn’t seem appropriate. Her hair was tied up at the back in a bunch. I could see the back of her neck and the little knuckles at the top of her spine. The long wisps of hair tangled with each other and stretched out from her skin.

“Where are we going again tonight?” I asked. She didn’t respond. She just continued to focus on her reflection.

“Darling?” I said. This time she looked at my reflection. “Where are we going tonight?”

“I told you” she said, cold, taking the mascara brush away from her face. I thought about it for a moment, but couldn’t remember her answer. “Gangnam, to meet Jackie and Mark for dinner. I told you.” She put down her brush and picked up her glass. As she drank the last mouthful and I heard the ice cubes rattle as they left her lips and slid to the bottom. I looked back at the paper in front of me.

I had scribbled a couple of lines which could be the start of a face. Or something else maybe. I had started to write words around the outside of them. The lines had taken an hour. The words: two minutes. As I read over them I realized that they were better than the drawing ever would be. I sighed. Nothing new there. My glass was still full and the ice cubes had started to melt. I like to let my drink dilute and my coffee cool. She doesn’t really do either of those things. I looked back at the lines and words. I sighed again. Silently this time. I looked at her computer. I opened a new tab on Firefox. I started to type “guardian.co.uk/sport”. The memory bar didn’t pop up. She must have erased the history folder. I typed in the full address and waited.

“Argentina have sacked Maradonna!” I shouted to her. It didn’t surprise me, but it might have surprised her. She liked Maradonna. Her family was from Argentina you see. She didn’t look up. Just continued with her make-up. This time she was pouting and dabbing at her lips.

“Darling?” I said again, this time a little softer.

“What?”

“Maradonna has been sacked” I said again, this time with a little less enthusiasm. I knew that she didn’t really care about what I was saying. Football was something we bonded over when we got back together. I tried to like art. She tried to like football. We both knew though.“Oh no,” she started, “Well the World Cup is over now

LITERATURE THAT BLACK JUMPSUIT

146

so…” and got back to pouting at herself. She was right, the World Cup was over now.

*

I had been dressed and ready for over an hour. Since I had shaved my head it didn’t take me long to get ready. I had become more conservative in my dress recently. My more outlandish ensembles had been replaced by a wardrobe of dark, plain clothes. I think I was readying myself for the transition to winter. She had finished her make-up now and was flicking through the dresses in her wardrobe. Every outfit fought for its place, squeezing against one another. It was hot outside so most of the clothes would probably be ignored. I liked most of the things packed into the tiny space, but there was one that I didn’t like at all. And a part of me knew that she would choose that one.

I sparked another cigarette and the smoke scratched at the back of my throat. We had tried to quit together a month or so ago, after we got back together, but it’s hard in Seoul. Everybody smokes, so we did too. I hadn’t really wanted to quit. She did. She’s older you see. She told me it mattered more. I thought that it would be too hard for her to do it alone, so I quit too. She said I didn’t have to, but I insisted. “Two cravings are weaker than one” I offered. She didn’t say anything.

She pulled out an item of clothing from the wardrobe. I noticed the sudden movement from the corner of my eye. I turned. The black jumpsuit. The item of clothing I hated the most.

She stepped into it and hiked it up over her body. It had a ruffle of elastic under her breasts that pushed them up slightly, hiding them under a large puff of fabric. She didn’t have large breasts and so she was very happy with the design. Her legs looked like they came all the way up to her armpits and her ass had the shape of a delicate teardrop. She looked fantastic. She was tugging at different parts of the outfit, pulling parts out to change her figure to the perfect shape. Her bumpy sternum was visible above the elastic at the top of the black jumpsuit. Her sharp shoulders and her long, thin arms lay bare. She thrust them onto her hips and spun around to face me.

“What do you think?” she asked.

I looked her up and down. I smiled. But inside I sighed. She looked gorgeous. Maybe better than I had ever seen her. Her frame had become more defined recently and her make-up had the gloss of hours spent, without too much care. She looked like she had been planning to steal the show, if there even was one. I loved everything about the way she looked, except the black jumpsuit. She wore it the night she found out.

It empowered her that night. And with her make-up diluted with the disappointment and anger I stirred then, she looked dangerous at that moment. I could never forget how her arms went that sassy way. Like she was made of smoke. I thought that they would come crashing down on my face, unhampered by cloth and free to strike. Something inside me began to well up and panic overcame me. I remembered how she yelled and how everyone stopped to stare. I shuddered.

“You,” I started, “you, you look wonderful darling. Just wonderful.” She smiled and turned back to her reflection.

I looked back to the computer but my eyes moved around her workspace. I couldn’t concentrate on the news or the ‘drawing’ or anything. Just the darkness spilling into the corner of my eye from that black jumpsuit. I noticed that things had been moved around since I was last here a few days ago. Her sketches had been taken down from the wall and the pictures of us had joined them. They sat in a little stack next to her Macbook. I saw the little stains left on the wall from where the blue tack had been pulled off. She always said that she decorated around her workspace to help her think when she couldn’t draw. Looking at you helps me, she said. Maybe the blue stains helped her more these days.

“Are you ready to go?” I asked, looking at the time in the top corner of the screen.

“Almost,” she said, “You?”

“Of course, I’ve been ready for ages” I replied, immediately wishing I hadn’t said anymore than ‘of course’. She shot my reflection a stern glance as she clipped on her gold earrings. Were they the same ones she wore that night? Maybe not, maybe I’m just imagining it, I thought.

Her phone vibrated next to her. She immediately picked it up, leaving only one earring attached.

“Who’s that?” I asked after she started typing her reply.

“Soo Min” she responded quickly, almost without a thought. She gave me a glance. A slight one.

I sighed to myself again. I knew that it wasn’t Soo Min. I didn’t say anything about it. But she wanted me to ask. I could tell she felt ready, in her black jumpsuit.

*

We went out that night. I never saw that black jumpsuit again.

his month’s reading list includes a book by James Wood entitled How Fiction Works. It was part of a series of books on narrative I went through for a paper I was writing on the subject, but that first have of the text is not what caught my eye.

At the end, Wood’s brilliant text was not relevant to my paper and I disregarded it. Still, it reminded of my disillusionment with novel writing, gave me a renewed interest in the history and work of the novel, and brought one particular creature back to the forefront of what had initially been my primary motive for writing fiction: the flaneur.

My very first issue of quint (which was issue two of the magazine), I submitted a shortened form of an academic paper subtitled “The Im-minent Death of the Canon through the Flaneur’s Nomadic Methods as the Final Phases of Postmodernism”. The title of this article alludes to the killing of the assassin of the establishment, but that is not my intention. Not really.

Wood goes on at length about the contributions of Gustave Flaubert (for those who don’t remember: Madame Bovary and Sentimental Educa-tion) to what we now recognise as the novel. His take on this might disagree with mine, but he is much more of an expert in the matter and is vastly wider read (one presumes, given his academic background) than me, so let’s say that’s true. Flaubertian Realism is the reason we see the novel the way it is today. I don’t remember the last time I read a novel older than Bovary, so I can’t say if Flaubert’s attention to detail, the inspiration for the rest of the book, existed elsewhere (although I am inclined to assume that it had to be). That’s not relevant, and Wood goes further in explaining how it was more in the way he did it than in that he did it that is changed the face of the novel.

So let’s go with it. I set my argument much closer to home, in the realm of contemporary literature.

If postmodernism has taught me anything it is that everything is postmod-ern if it’s not something else. If postmodernism has learnt anything from modernism is that the latter’s avant-garde rejection of positivism and the canon was too narrow-minded. Still, it was necessary.

As modern day creative-fiction writers, our goal should be one of open, inclusive, critical selection of techniques, styles, and ideas from the never-ending reservoir of talent that we all keep on our shelves. I’ve been reminded of a paper by Walter Benjamin lately, Unpacking my Library, where he describes the intimate love he has of having his books surrounding him. It’s beginning to dawn on me that it’s not so unusual that I consistently add and keep texts that I have little interest in reading after the first few pages, only to come back to them, years later.

Albert Camus is one such magnificent scriptor, although there is little that is genuinely majestic about his style or content, except maybe what it does to the mind. I don’t remember him paying special attention to the detail that the flaneur’s observant eye in Sentimental Education does not miss. If anything, he has no interest in surroundings that do not say something directly to the reader. Then again, the style of the existential-ists was a little drier than the realists’, maybe.

There’s really nothing I’m trying to get to here, not this time at least. Only casting a gaze at the thought processes that bring about stories and novels, and how everyone interacts with them so uniquely. I seem to have lost touch with that freedom of display.

Writing descriptive scenes was never my forte. I focus more on the mind and the spectacles that happen within the bazaar of the human than around him.

At some point though, one does wonder: who sets down the rules for the norms of fiction writing, who is the arbiter of how fiction works, that we are obliged to conform to the limited creative spaces of those edicts. I, for one, find that if there is a rule in fiction then it should be that no rule prevail over the will of the author.

Despite my agreeing with Roland Barthes that the author is, in fact, dead, I think our generation has taken that a bit too far. Maybe an au-thor is what we need to be. Otherwise, we produce commercial spittle.

Or, as I once called it, “golden garbage that the world will stare into wide eyed.”

LITERATURE THAT BLACK JUMPSUIT

148

There is a stark correlation between creativity and depressionOnly artists that are beat, bent and broken seem to make an impression

When the lights go out in the evening

To quench the sorrow of a hapless soul between reality and perditionLive the lives of the Qasida, built queer without need or addition

When the sands give time for bereaving

There is a mourning cry splashed through our pens across papersTo give life to the passing, words can do justice to shame

When the past has a life of its own

READING LISTTHIS IS A COMPILATION OF WHIM, YET AGAIN. IT’S WHAT I ENJOYED, WHAT I FOUND BY MISTAKE, WHAT I HAD TO READ, AND WHAT I THINK IS INTRIGUING. BEAT GENERATION FICTION, SOME OLD, SOME NEW; ACADEMIC TEXTS, ON LANGUAGE AND ON DESIGN; TEXTS OF INSPIRATIONAL CREATIVITY: THE LIST IS ECLECTIC, MEANINGLESSLY COLLECTED, AND YET HIGHLY COMPLEMENTARY. PUT THEM TOGETHER, AND MAKE A SIGNIFICANTLY INFORMATIVE AND FASCINATING READ. OR AT LEAST SOMETHING LIKE THAT. WHILE HITCHINGS TELLS US OF WHAT ENGLISH SHOULD BE LIKE, KEROUAC LEARNS HOW TO USE IT, AND BUKOWSKI EXPLORES THE DIFFERENT WAYS HE CAN BASTARDISE IT. MEANWHILE, THIS IS NOT A BOOK HELPS US WITH OUR PROCESSES OF CREATION, AND JULIER EXPLAINS HOW AND WHY CULTURE IS AND DESIGN TOUCHES IT.

FARES BOU NASSIF

LITERATURE READING LIST

150

TALES OF ORDINARY MADNESSCharles Bukowski

I reviewed this book in November 2010, but I read it again this year. I have nothing new to add, so I’ll copy myself from then:Read this because poets like him, when asked to write prose, do so with an unpredictable grammar and an impressive, surprising attitude. Tales of Ordinary Madness includes such short stories as ‘Great Poets Die in Steaming Pots of Shit’ and ‘The Stupid Christs’ among others like ‘No Stockings’. The collections centre on his life as scum, on women, on drinking, and merge along Kant, war, and everything beautiful and ugly in the world of the Beat generation writer-philosopher with an artful disdain that transcends any of his contemporaries. Kerouac might be the face of the community, but in Bukowski’s words you discover the truth behind a baffling culture of rebellion.

THE CULTURE OF DESIGNGuy Julier

Books that bring graphic design into the larger context of design in general are of particular interest to me, and Guy Julier does exactly that. Endeavouring to establish “design culture as a distinct discipline”, the text is, unfortunately, largely British-centric. Building on the intrinsic need to study design from a consumption perspective while also appreciating the indispensable designer as primary creative force, as Julier establishes in his first three chapters, he arrives to a series of case studies and enables his survey to carry greater significance: he methodically describes particular environments in the following six chapters. What stands out, however, is that this is one book that considers advertising and graphic design as primary sources of design culture, as opposed to their more commonly marginalised role.

THIS IS NOT A BOOKKeri Smith

A couple of weeks ago, while at the René Magritte museum in Brussels, I stumbled upon this strange little book, picking it up not because I wanted to read it (it’s ‘not’ a book), but because it was fun, enjoyable, clever, and seductively inspirational. It’s a series of games and creative prompts. From the note to the reader/user on the first page: “You are about to embark on a journey. (...) You are welcome to alter this journey any way you choose. Try things at different speeds to see how they change, using whatever materials you have on hand.” It’s nothing like I’ve seen before, and, although it might feel like a children’s book, it’s really a unique jolt of creative process and energy that we all need sometimes. Plus, it’s fun!

THE SEA IS MY BROTHER: THE LOST NOVELJack Kerouac

I throw this in here simply because of who wrote it. I’ve yet to read anything but the back cover, since my list of books for this month is piled high enough to keep me far away from casual reading for at least a few weeks. It being the book that Kerouac wrote seven years before he published The Town and The City, it shows the promise of a young writer who was still getting his footing. Talent, craft, practice, luck, or coincidence and good timing could all be the reasons why Kerouac is such a defining voice. I’m betting on talent, since his way of putting words to paper is fascinating even coming from a highly experienced literary voice. This book removes most doubt, one would hope. Read it, and tell me.

THE LANGUAGE WARS: A HISTORY OF PROPER ENGLISHHenry Hitchings

“Why do people care so much about it anyway?” I, for one, can’t read an incorrectly formed sentence on not itch all over the place with the urgency of editing it, making it proper. This book chronicles the stages of the development of English in a way that is both concise and expansive, with chapters like “hitting le jackpot”, “of fish-knives and fist-fucks”, and “conquer English to make China strong”. Finding it in the second hand rack of a bookstore in Amsterdam, hours after a debate over cyber-English and text-speak, it seemed quite apt. Still cruising gently through it, it covers everything from the people and incidents in history who have shaped the language, to why it is constantly criticised and lamented, giving thought to things as specific as split infinitives.

Always there to provide a reprieve from daily duldrums, The Fridge’s latest series “The Friday Fridge” at Wafi Rooftop is definitely an event that is always at the top of our list, and should be at the top of yours! The musicians who grace our sandy city never fail to deliver performances that shake us out of whatever rut we may be in and injects us with enthusiasm and giddiness at experiencing incredible live acts in a city where this is, at best, a rare joy.

Parisian Ska Brass Band Les Fils de Teuhpu perfectly embody this. This performance was their first on the Arabian Peninsula, and they managed to push every limit, get everyone on their feet, and have the entire crowd brimming with excitement. Every last person felt the energy emitted by the band, and even the tamer members of the crowd couldn’t keep their feet from tapping.

They combined the double bass, banjo, sousaphone, trumpets, drums, and strings to create a delightful cacophony of sound. And their personalities are just as big as their sound, with one of the band members climbing above the stage to play his heart out well above the crowd.

No doubt, this was an incredible concert and we’re looking forward to more Friday Fridges!

Gallery hopping is one of our favourite things to do, and we’re happy to see that it’s become a city-wide pastime for the cool, hip, and totally artsy people in Dubai. Art Nights also manages to draw in a pretty diverse crowd considering it’s location in DIFC, and we were thoroughly pleased to take part in the previous one, and are excited to be part of the upcoming Art Nights on 19 March.

The galleries are superb, the artwork is diverse, and it’s really nice to see such an interesting amalgamation of people laughing and conversing in one place. We love what Art Nights is doing and think it’s just the right dose of culture that Dubai needs to keep us both grounded and inspired.

by ZAINA SHREIDI

by ZAINA SHREIDI

PHOTOS FABIEN CHAREIX

THE FRIDAY FRIDGE PRESENTS:

LES FILSDE TEUHPU

ART NIGHTS

EVENTS REVIEWS

152

“WAIT, WHAT? HOW? NO… REALLY REALLY? NO WAY!” - SHOCK HORROR!

Between all the she did this, he did that and the ‘I can’t believe this random stranger is mutual friends with 50 of my friends on Facebook’ situations, sometimes you can’t help but think that nothing can come as a surprise anymore. Then lo and behold, BOOM, the most unlikely band (NSFW for the fainthearted) that could ever end up in this part of the world, who I fortunately liked (A LOT), is scheduled to play a venue in the island of Yas. So on a wondrous Friday the 13th, I found myself on the road to Abu Dhabi with a joyful heart and a pair of ears that craved for disco-glam-pop jingles and nothing else. Navigating around Yas Island (though not my first time) proved to be problematic once again but with a little bit of patience I eventually found myself in the boldly blue Flash Forum tent with just a few songs to spare from the opening DJ before the main act of the night gets on stage.

As I was getting ready for the marvel that was bound to materialise that evening (i.e. paying the bar a visit for some prep juice) I found myself amazed at the crowd that gathered. For such an unorthodox music act, the people seemed very ‘standard’ and not the usual demographic I presumed the band have as a following (hey, not judging here..), which in retrospect, I was thankful for as it kept the ironically typical hipster count on a minimum.

After a few head bops, the wait didn’t last long. The ‘Ta-dah’ moment finally arrived as lead man Jake Shears entered half running and half skipping to a dun-dun-dun beat followed by the

rest of the crew and quickly followed by high-pitched screaming from the elated and responsive crowd.

To be truthful, I got way too excited (Finally! A break from all the usual banal acts that we get shipped here) that the opening number flew by without me recalling how it went in detail; all I remember is me dancing/jumping crazily to the beat of the joyful tune. Their happiness and energy were infectious!

That is probably what I like best about the dynamic and spirited band. From the older materials such as ‘Take Your Mama Out’ to the newer songs such as ‘Fire with Fire,’ one can’t help but feel blissful and empowered. And once they played ‘I Don’t Feel Like Dancing’ (which was probably the most anticipated song of the night) the euphoria was unstoppable and ironically everyone did feel like dancing!

But if you have seen this act live you know it’s not just their music everyone loves. For the duration of their set, before and after every song, they would talk to the crowd in a familiar way; genuine, endearing, heartwarming, funny, and best of all unpretentious.

And of course, it wouldn’t be Scissor Sisters without the exalted naughtiness! So between the manic floor humping to the flirty stationary jogging (From Ms. Anamatronic) to the more blatant cat-crawling they still found the time to tease and challenge the gathered fans with subtle sexual innuendos- and I’d courageously say WE all loved it!

EVENTS REVIEWS

154

OMAR OFFENDUM, MALIKAH, TRAKNOTZ, ED HOOLIGAN & JABBARSAIN, JIBBERISH, RONE JAXX, MR SHEF CODES, DJ SOLO

JANUARY 18 – MARCH 8

ELSEWHEN: ALA EBTEKAR Informed both by the artist’s cultural background and part of a diasporic community in the 21st Century, the new series of paintings and photomontage prints present an insight to what the world could possibly be following a collision with history and mythology.The Third Line Gallery+971 4 341 1367

thethirdline.com

JANUARY 22 – MARCH 8 10am – 12am

JESSICA MEINA presentation of the artist’s new animation called ‘Black Out’ where she uses visual material of power lines in the city of Dubai and its surrounding. Her animation often resembles deconstructed and layered states of dreaming and remembering with time woven in-between and randomly looped; where space and time become inseparable.The Pavilion Downtown Dubai+971 50 644 1304

pavilion.ae

FEBRUARY 2 – MARCH 3110am – 8pm

DOMINATION, HEGEMONY AND THE PANOPTICONAn exhibit of discerption - hegemony being the ultimate stage of domination and its terminal phase. Domination is characterized by the master/ slave relation, which is still a dual relation with potential alienation, a relationship of force and conflicts - attempting to understand the panopticon as the diagram of a mechanism of power reduced to its ideal form.Traffic+971 4 347 0209

viatraffic.org

FEBRUARY 6 – MARCH 1410am – 6pm

BREATHING SPACE: DRISS OUADAHI Exhibit taking subject matter from the built environment of urban alienation, Ouadahi’s paintings are based on modern architecture- sterile modernist public housing developments, wire fencing and underground passageways - producing works of paradoxical beauty.Lawrie Shabibi+971 4 346 9906

lawrieshabibi.com

FEBRUARY 15 - MARCH 1511:30am – 7pm

DIE DUNKLE SEITE DES MONDES A group exhibition with Pink Floyd’s legendary album “The Dark Side of the Moon” as its namesake, it is not just a projection of aspects of pop-cultural onto art, but a sincere investigation into the relation of art and music. It’s all about melodies and motifs, improvisation and instinct.Carbon 12+971 50 464 4392

carbon12dubai.com

FEBRUARY 20 – MARCH 1410am – 6pm‘I CAN IMAGINE YOU WITHOUT YOUR HOME’Debut exhibition in the UAE by Palestinian artist, Hazem Harb in which he explores first hand experiences of the on-going conflict in his native Gaza. He brings to the foreground, the human conditions in these situations, highlighting what is left behind through photography, film and mixed media installation.Etemad Gallery+971 4 346 8649

galleryetemad.com

MARCH 1 – MARCH 3010am – 10pmART CONTEMPORARY 20123 contemporary artists, 3 contemporary styles, which prove that this world is the best of all possible worldsArt Couture+971 4 601 0101

artcoutureuae.com

MARCH 15 - MARCH 254pm onwardsSIKKA 2012The Fridge is curating SIKKA 2012 in Bastikiya. From March 15 to March 25, Bastakiya’s alleys and courtyards will be the haven of performing arts: music, dance, theatre by day, by night, weekdays, weekends.The monthly Acoustic Songwriters Showcase will be held at Bastakiya on March 21 as part of SIKKA programme.The Star Too troupe will also be performing during this time with Riina Luikkonen, and music composed by Barnaby Priest performed live by 4 cellists. From Songwriters to Arabic Fusion to Bull Funk Zoo funk jazz, this will definitely be a a great show! Watch The Fridge Facebook group and website for more details. Bastakiya

thefridgedubai.com

MARCH 19 – MAY 510am – 7pmBRUTE ORNAMENTCurated by Murtaza Vali, the exhibition explores the conflicted relationship between the decorative tradition of ornament and Western modernism, revealing the constitutive role that ornament played in the development of modern art in the West, specifically in the move towards pure abstraction that was modernism’s endgame.Green Art Gallery+971 4 346 9305

ggallery.com

February 23 – February 257:30pmTHE ANIMALS AND CHILDREN TOOK TO THE STREETSA Performance of seamlessly synchronizing live music and storytelling with stunning films and animation that aims to transport one into another world straight from the pages of a graphic novel. An incredible mix of physical theatre and film brought to life by 1927Dubai Community Theatre & Arts Centre (DUCTAC)+971 4 341 4777

ductac.org

Event ListingsEVENTS

156

FEBRUARY 29 7pm WHAM! BAM! ISLAM! A film that portrays the tale of the first team of superheroes to grace the lands of the Muslim world. The story revolves around a character named Naif Al-Mutawa, who dodges cultural minefields and attempts to tackle the ever so harsh realities of the global marketplace while pursuing his vision to bring new heroes to Muslim children while re-introducing Islam to the West.Traffic, [email protected]

MARCH 1 – MARCH 37:30pmTHE MOUSE THAT ROAREDA theatrical play that shows a satirical look at the 1960’s cold war and a hilarious take on the superpowers and politics during the era.Centrepoint theatre, Ductac Mall of the Emirates+971 50 655 0443

March 15 - March 17March 15: 3pm - 12amMarch 16: 12pm – 12amMarch 17: 12pm – 11pmTASTE OF DUBAI 2012Taste delicious foods from some of the most acclaimed restaurants in Dubai, watch cooking demonstrations from top chefs and take part in cooking classes in the most acclaimed culinary event of the year. Dubai Media City Amphitheatre+971 50 734 1277

MARCH 158pmWONHO CHUNGWorld famous stand up comedian Wonho Chung returns to Dubai to host a stand up show, this time in Arabic. First Group Theatre, Madinat Jumeirah+971 4 366 6546

MARCH 29pmDAVID GUETTA World’s number one ranked DJ and winner of two Grammy Awards, DJ Guetta is returning to the Emirates yet again. This highly anticipated event will be held at the Yas Arena in Yas island. The Yas Arena Abu Dhabi+971 2 509 8000

MARCH 2 7:30pmLive Local LoudWarm up Act - Moonshine - long standing Dubai based rock bandMain Act - Nikotin - local heroes Nikotin bring their energetic live show to Live Local Loud stage.Pyramids Rooftop Gardens at Wafithefridgedubai.com

MARCH 212am - 3am ATBAndré Tanneberger, world famous German DJ known for the smash hit 9pm (till I come) will be blowing Dubai with his beats at the XL Beach Club in Dubai Marina with Josh Gallahan in support. XL Beach Club Dubai Marina+971 4 454 2927

March 86pm DURAN DURANOne of the most famous and successful bands of the 80’s, Duran Duran bring their hit titles (Hungry like the wolf, Rio, Save a Prayer) to Dubai at the Sevens stadium on the 8th of March for anyone who wishes to relive the excitement of the 80’s.The Sevens venue +971 4 439 0900

MARCH 92pm - 2amSNOW PATROLPerforming live for the first time in the region, Snow patrol will be headlining the Dubai Atlantis Open Air event, hosted by Sundance. The long awaited concert will also feature a set from Calvin Harris and DJ Erick Morillo.

Sandance Beach, Palm [email protected]

MARCH 9 (SECOND FRIDAY OF EVERY MONTH)9pm – 3amSNAKEBITEMosh to Indie-Punk-Rock with a slice of Electronica – tunes from the Pixies, Clash, Cold War Kids and the likes. Free entry and no dress code.

Mercure Grand Hotel, Al Mina Road, Bur Dubai/Satwa.

March 167:30 pmLIVE LOCAL LOUDWarm up Act - The Gypsy Swing Project - gypsy jazz trioMain Act - Savage Craic - 4 -piece band Celtic traditional music

Pyramids Rooftop Gardens at Wafi

thefridgedubai.com

EVERY THURSDAY10pm onwardsDEEP CRATESFunk, hip hop, afrobeat, soul, boogie, and more. Great drink deals, free entry – a great, non-pretentious night out.

Casa Latina, Ibis Hotel, Al Barsha.

EVERY NIGHT (EXCEPT WEDNESDAY)9:15pm onwardsFor more live music, head over to Healey’s to enjoy the beautiful musical stylings of The Johanna Sandell Duo. Johanna and Mikko will blow you away with their incredible renditions of all your favourite songs!

Healey’s Bar, Bonnigton Tower

facebook.com/johannasandellduobonnigtonjltapartments.com

EVERY NIGHT7pm to midnight

Live music at Jebel Ali Golf Resort & Spa from the incredibly talented Jess, Kris, and Benjamin – who make up Wild Strawberries – as well as guitar man Tobias. Catch the Wild Strawberries at Mushrif Bar every night except Saturday from 9pm to midnight. Tobias plays every night except Friday from 7pm to 11pm at Captain’s Bar. And if you’re in the mood to serenade then go to Mushrif Bar on Mondays for Karaoke night from 9pm onwards.

jebelali-international.com

MARCH 29pm onwards

Local prog metallers Absolace launch their second studio album ‘Fractals’ with a massive show at The Music Room.

The Music Room, Majestic Hotel, Bur Duba Tickets AED 60

www.absolace.com

Books, and the hunt for books, always remind me of Walter Benjamin’s paper on unpacking his own compilation, and the intricacies of the collector’s ritual. With the vividness of his style, you get a sense of sitting in that room, talking to him, or at least listening.

Currently collecting quite a bit of litera-ture on diverse subjects (graphic design history, Dutch design, creative cities, the methodologies of public versus private, histories and theories of branding, new media approaches and meanings), I’ve had to become a sort of fetishist book collec-tor, although not the buying type. While sometimes these books are important enough for me to buy, more often than not I just look for them at a library near me. WorldCat.org has been a wealth of help in that regard, and yet it still sometimes sends me to Zurich for a book I need right away. But I’m rambling again.

When books are not enough, I tend to turn to journals. My favourites are the Journal of Design History and the Design Issues journal, but today I attempted to look through Design and Culture. When what you’re looking for is keywords, generally not terms that are ubiquitous enough for them to consistently be part of the title, a lack of search engine is dis-tressingly off-putting. Design and Culture does not have a search engine.

Today, after giving up on Design and Culture, I accidentally stumbled upon something that I would classify as a bit of an umbrella article, although I have not read more than the abstract: Victor Margolin’s “A World History of Design and the History of the World”. Margolin is a widely recognised name in design history, and the 2005 article brings to my attention a largely significant perspective on what design is lacking.

Designers insist on being the be all and end all of production with added value. They argue that design is the purview of a select few, those who can intuit what happens next. Other designers argue that those designers are wrong. One thing most will agree on, though, is how practice is more important than theory, or discourse. Seriously.

After stumbling across this article re-newed my interest in Margolin, who I’d only read articles for before, I looked him up, as one does, on Amazon. I hence-forth discovered Richard Buchanan, but what was more engaging (and annoy-ing) were the comments on the book The Idea of Design coedited by them: “It is a little theoretical, but it is worthwhile to read.” and, more painfully: “Good for over intellectualising and pontificating idealistic principles of design; bad for any concrete examples. Sure, fanciful ideas of

design’s capacity to revolutionise social, environmental and cultural change is a splendid idea, but I’ll need you to show me something that manages to accomplish that first. And hold all the airy, abstracted philosophical fluff please!”

Philosophical fluff? But it is worthwhile? Design-centric books serve one purpose for designers: to further their own single-minded view of the world. Anything that attempts to expand their minds past the day they left university that isn’t exclu-sively visual and that does not hang in the balance of practice is meaningless. Useless. Irrelevant. “Fluff”.

That’s probably why the London College of Communication has recently stopped applications to its MA Design Writing Criticism program, due to insufficient critical mass. Designers do not want to see value in theory, but they want to be the unequivocal voice of our generation.

One conclusion: the idea of design is to create a superficial world, and those of us that resist that, by reading things written by Margolin, Heller, and others, are wast-ing their, our, and everyone’s time.

Go fluff yourselves.

LAST CALL

158

THE EASIEST WAY TO CREATE YOUR OWN WEBSITE.

C

M

Y

CM

MY

CY

CMY

K

virgin-du_Quint.pdf 1 1/18/12 11:30 AM

Documents

quint magazine | issue 13