Twissst issue #4 english edition_

englishedition

SPARK ARCHITECTS The Interview

ISSUE #4

TIM WALKER Fashion & Art

2.0 # GENMOBILEThe new ABC

TWISSST 1st YEAR Best images review

THE NEW ERA OF COUTUREChanel ,Vauthier ,Bouchra ,

Jarrar , Rad Hourani &

Victor and Rolf

PARIS & MILAN MENSWEAR BACKSTAGES

Louis Vuitton, Jil Sander,

Lanvin, Versace,

Z Zegna, Thom Browne,

Valentino...

riga fashion weekFull Review

3

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECITON

JIL SANDER

4

Self Portrait by Mr. Delaney Allen

Editor in Chief & Creative Director

Norberto Lopes Cabaço

[email protected]

Foreign Editors Director

Mauro Parisi

[email protected]

Editorial Coordinator

Chloe Yakuza

Architecture & Art Director

Mauro Parisi

[email protected]

Graphic designers

Laura Paunero Ruiz-Dana

[email protected]

(Graphic Designer Senior)

Lucas Castro

[email protected]

Paula de Frutos

[email protected]

Foto: Dino

Modern50.com

STAFF

6

7ZLVVVW�0DJD]LQH��+HDG�2IÀFHCalle San Lorenzo, 26 1A

28004 Madrid

+34 91 523 5770

[email protected]

www.twissst.com

Twissst English Edition

Clare Hodgson

Magdalena Kurowska-Shokerin

Twissst Portuguese Edition

Translation Responsible

Elis Porfírio

HOLV�SRUÀULR#WZLVVVW�FRPBernardo Saavedra

Twissst Spanish Edition

Elena Arteaga

Benedicta Moya

Contributors

Elena Donà,

Dilia Parkinson,

Isabel Garcia Megino,

Jennifer Marquez,

Simone Guellar,

Thomas Thinwes,

Federica Gentile,

Ymkje Repko,

Ekaterina Lokteva,

Aleksey Novikov,

�5XÀQR�6DUDRVD��Carlota Branco,

Eleonora Maggioni,

Ewa Wilkos

Jose Manuel Delgado Ortiz,

Ruth Gaillard, Rute Martins

Ricardo Gonzalez Naranjo

Simon Lorenzin.

EDITORS

7

The New Era of Couture Pag. 16 - 24

2.0# Genmobile

Pag. 28 - 35

Riga Fashion Week The Winter Collections

Full ReviewPag. 58 - 71

SPARK/ Architects: The InterviewWorks/World/VisionPag. 78 - 91

Tim Walker The photographer serving the Art Pag. 40 - 49

INDEX

Riga The cosy and austere beauty of the Latvian capitalPag. 94 - 105

Urban Garden Madness Pag. 108 - 119

1927 Where experiment

joins tradition Pag. 130 - 135

Cultural Calendar Pag. 140 - 143

Discovering the vineyards of BordeauxPag. 122 - 127

José Guerrero The abstract FauvistePag. 136 - 139

LIFESTYLE & FASHION CULTURE MAGAZINE

ISSUE NUMBER ZERO ISSUE NUMBER ONE

PORTUGUSE EDITION

ISSUE NUMBER TWO

PORTUGUESE

EDITION

SS13 Destino África Artur Cabral

PORTUGUESE EDITION

EntrevistaManuel Alves

ISSUE #3

Fashion Editorial : Miss KrólakFrom Poland to Peru

Nova SecçãoI love Twissst

Special Report, Milão @Salon del Mobile 2013

Is it New York the New Paris?

CLICK

TWISSST#1

TWISSST#2

TWISSST#0

TWISSST#3

12

http://http://issuu.com/twissst/docs/portugues

http://http://issuu.com/twissst/docs/2twissst_issue_number_two_-_portuguese_edition

http://issuu.com/twissst/docs/twissst_number_zero_pt_edition

http://http://issuu.com/twissst/docs/twissst_issue_number_3_pt_edition_

EDITOR�S L E T T E R

TWISSST HAS BEEN LUCKY.

We have just turned one year old. For us these have been 365 days dedicated to creating a new editorial project.

Throughout the past year we have been celebrating some remarkable mo-ments being able to count on a team of VNLOOHG�SURIHVVLRQDOV�LQ�WKH�¿HOG�RI�SKR-WRJUDSK\��GHVLJQ��DQG�LQ�WKH�¿HOG�RI�IDVK-ion, designers, models, makeup artists and obviously, a group of professionals who have worked jointly to attain a com-mon goal. They have been responsible for creating the contents that until now have generated 4.2 million page views in 94 countries. This could be considered the end of year balance for TWISSST. For this rea-VRQ�WKLV�LVVXH��LVVXH�QXPEHU�¿YH��LV�D�retrospective of what has most impacted readers. This is our tribute to those who have done so much for very little.We have created our magazine with a goal of developing our own editorial philosophy and it has been visibly gaining strength. TWISSST

will now be creating new sections on information of general interest and of international concern. It will be talking about relevant moments in our recent history and perhaps about what may come in the future.

TWISSST will also take on new chal-lenges of visual communication. We would like to share more directly and frequently what we do and what we think, in what we believe in and what the purpose of our work is.

We consider it is the right moment to invite companies and industry profes-sionals of the sector so that they can join this new project. We think that the result of this cooperation and sym-biosis is based on the challenge of the sustainable growth that we would like to apply. This is would be the outcome of these professional and creative co-operations.

We are also in the process of creating a new website and we have some new projects that will be revealed shortly, new ideas that without a doubt will rep-resent a step further in the young but solid path of TWISSST. Last but not least, a special thanks to our readers, all those who have chosen TWISSST

in each one of 94 countries where we have been present. To those whose opinions and suggestions reached us, to you we are sending our gratefulness for giving a meaning to our work.

We are committed to continue work-ing so that TWISSST becomes a re-ality and so that each issue becomes more innovative, creative and rele-vant in information in comparison to its previous editions.

Cheers!

Norberto Lopes Cabaço

11

All people are born equal...

then some become

3QCMMMN?L�M

12

Photo:Antonio PalmaModel: Nuno SilvaEdited on TWISSST#2

http://issuu.com/twissst/docs/twissst_-_issue_number_two_-_english_edition2#2

13

Photo: Maciej Bernas Children of Peru/Katarzyna Królak

Edited on TWISSST#3

http://issuu.com/twissst/docs/twissst_3_english_edition_0edc38be526323

14

Self Portrait by Mr.Kris SchmitzEdited on TWISSST#2

http://issuu.com/twissst/docs/twissst_-_issue_number_two_-_english_edition2

29.10 – 2.11

15

the new eraof couture

Text: Eva Wilkos

16

of couture

17

Haute couture autumn/winter 2013/14

When we try to picture cou-ture, what usually comes to mind is an ephe- meral

spectacle adorned with beadings, embroidery, frills and feathers.

Exquisite, but sometimes out of touch with the needs of the more practical-minded among wealthy clients. Few seasons ago it seemed that couture was gradually be-coming a relic of the by-gone era. Not anymore, as we are witness-ing a move towards the ‘new cou-ture’ approach evident in some of the autumn/winter 2013/14 shows. Having successfully balanced crafts-manship with a more austere aes-thetic, can these collections get us back to the core of high-quality tailoring? First and foremost, it is impossible to downplay the ma-jor transformation taking place at Dior with Raf Simons at its crea-tive helm. One year after his de-but couture collection, the Belgian continues his steady march down the transition path. Leaving Galli-ano’s über-romantic, larger-than-life vision behind, Simons aims at creating designs that are at once faithful to the Dior’s heritage and fit for the digital age. Like his infa-mous predecessor, Simons drew his inspiration from other continents and cultures. However, his point was not to capture the past or re-create folk costumes, but to repre-sent the diverse personal style of a global client on a microscale of

the catwalk. Patterns, fabrics and accessories from Asia, Africa and America interacted with Dior’s Eu-ropean heritage. In the background giant screens depicted the collec-tion interpreted through the lens of Patrick Demarchelier, Paolo Ro-versi, Willy Vanderperre and Ter-ry Richardson. Ever the modern-ist, Simons relied on architectural shapes and primary colours. While he is yet to attain the level of co-herence he mastered at Jil Sander, he has already successfully rejuve-nated Dior’s New Look designs, now photographed on Jennifer Lawrence and Leelee Sobieski.

18

CHANEL�The transition between the old and the new was also a focal theme at the Chanel show, staged among the dusty ru-ins of an imaginary theatre. But the mo-ment the curtain opened, it became clear that Kaiser Karl, the master of reinven-tion himself, projected his vision towards the future. The fabrics, mostly in various shades of black, white and grey, gleamed with spectacular 3-D embroideries that brought to mind the surfaces to be found in ultramodern metropolis. Even with this astounding level of innovation achieved by Chanel ateliers, the Lurex-threaded clas-sic jackets had lost none of their practi-cal appeal. Despite its futuristic spirit, the collection was perfectly wearable and not

meant to alienate regular clients. The vast majority of fashion powerhouses maintain their couture lines mainly as a prestigious addition to their more prof-itable merchandise, a way of preserving tradition and reinforcing brand image. 6WLOO��ZLWKRXW�WKH�LQÀX[�RI�IUHVK�WDOHQW�WKH�couture week would inevitably turn into a beautiful mausoleum. To keep the cou-ture spirit alive and kicking, La Chambre Syndicale de la Haute Couture, the body governing the shows, has decided to re-lax its strict criteria. Each year they ex-tend the right to show couture collections to a small group of promising designers that are to yet to gain right to employ the ‘haute couture’ brand.

19

Alexandre Vauthier� Among the Paris new guard is a 41-year-old French-man, Alexandre Vauthier, who since 2011 has steadily built a reputation for his laser-sharp tailoring and daring eveningwear. Not surprisingly, his early mentors were Thierry Mugler and Jean-Paul Gaultier. The latest collection featured plenty of his sig-nature draping applied to roomy trousers, satin miniskirts and body-skimming dress-

es. Accentuated shoulders and bustiers worn underneath the jackets referenced the 80s, yet he made them look youth-ful and thoroughly modern. Provoking, but far from retro ostentation that could possibly turn the clothes into mere party costumes. Think about Beyoncé and Ri-hanna, who have been spotted in Vauth-ier’s designs, and you get a clear picture of the woman he aspires to dress.

20

Bouchra Jarrar�Meanwhile, his compatriot Bouchra Jarrar is the one to of-fer convincing daywear and accessible el-egance. Born in Cannes in a family of Mo-roccan descent, she subsequently moved to Paris to hone her skills alongside Nicolas Ghesquière and Christian Lacroix. Season DIWHU�VHDVRQ�VKH�UH¿QHV�WKH�FXW�RI�WURXVHUV�that since the very beginning have become her staple piece. For this autumn she paired them with leather motorcycle jackets and

ÀHVK�EDULQJ�JLOHWV�PDGH�IURP�KDQGZRYHQ�wool. Yet, the key to Jarrar’s ongoing suc-cess with major retailers in America lies in her ability to mix masculine and feminine elements. Plus, she knows how to show off an eye-catching detail, this time hip-circling chains and edgy metal necklac-es. Her unfussy, wearable designs have already won the approval of top buyers and are currently stocked at major retail-ers including Browns and modaoperandi.

21

Rad Hourani is another name to watch for those favouring androgynous fashion. As an invited member to the couture week, KH�EHFDPH�WKH�¿UVW�GHVLJQHU�LQ�KLVWRU\�WR�present a unisex haute couture collection. A 31-year-old former stylist from Montreal had never received any formal training in design, but even without it he still man-aged to come up with a strong, sophisti-cated vision. Hourani’s designs possess a sculptural quality built upon layers of folds, pleats and drapes. The monochrome col-our palette and geometric shapes border on monastic austerity that works for both sexes, regardless of the season and ruling trends. It is easy to imagine Tilda Swinton wearing some of Hourani’s jackets, coats and tunics cut with mathematical preci-sion. They might be labelled as abstract and avant-garde, yet they will certainly appeal to clients feeling more at ease in unisex silhouettes than in feminine styles embraced by other designers.

22

Viktor and Rolf � Austere and con-ceptual, the two keywords continued to rule at the Viktor and Rolf couture presentation that marked the 20th anniversary of their eponymous label. The acclaimed Dutch duo VWDUWHG�WKHLU�SUROL¿F�FDUHHU�GHVLJQLQJ�FRX-ture collections before moving on to ready-to-wear thirteen years ago. For their come-back show they envisioned a Japanese Zen JDUGHQ�ZLWK�ORRVH�¿WWLQJ��EODFN�FORWKHV�UH-

sembling stones. It was a minimalist PRPHQW�GXULQJ�D�ZHHN�GH¿QHG�E\�RSX-lence and a quiet meditation on the very nature of couture that seeks balance between common sense and artistic ex-pression. Looking at the new sensibility coming from innovative designers, we have a feeling that this creative dialogue will dominate the catwalks in the coming seasons.

24

25


LOUIS VUITTON Backstage

26

Self Portrait by Mr.Kris SchmitzEdited on TWISSST#2


2.0Text: Dilia Parkinson

Translation: Clare Hodgosn

28

alarm, make notes in a note-

book, look at the mentions on

Twitter, retrieve mails, reach

the next level of Candy Crush,

upload a photo to Instagram

or look at the weather for the

next day.

The Global mobile data traf-

fic grew 70% last year and

the European average smart-

phone usage has now reached

47.6%. Similar numbers are

found in different European

countries, in the first posi-

tion; United Kingdom (52.2

%), followed by Spain (47.1

%), France (37.4 %), Germa-

ny (37.1 %) and Italy (35.3

%). The most common prac-

tices are connecting to Fa-

cebook, Twitter, Google+ or

WhatsApp.

SMS have been left behind as

obsolete and expensive, so-

cial network MySpace is still

trying to rise from its ashes,

not to mention the Blackberry

that only a few months ago

created a rush among teen-

agers in Europe and USA sell-

ing out at stores and making

BlackBerry Messenger (An-

droid OS and iPhone’s precur-

sor) a fashionable revolution

and enabling the definitive

consolidation of the mobile

technology.

WE ARE CONNECTED 24 HOURS A DAY, 7 DAYS A WEEK. AC�CORDING TO A STUDY BY TONI AHONEN, REGARDED AS THE MOST IMPORTANT VOICE ON MO�BILE TECHNOLOGY, WE ARE UN�ABLE TO SPEND MORE THAN SIX MINUTES WITHOUT UNLOCKING OUR SMARTPHONE TO CHECK OUR LATEST NOTIFICATIONS.

The use of mobile devices has

already invaded society, their

use is indispensable and Smart-

phones are the most popular of

gadgets.

We check our mobile 150 times

in 24 hours. We can read, speak

and write at the same time, we

watch TV with the phone in our

left hand and the TV remote in

the right hand and our mind

on both devices; we chat with

friends through Facebook, we

respond to WhatsApps, set an

30

WHATSAPP, the most down-

loaded free app and designed

for an audience looking for

immediacy with the least cost

and effort. But success always brings

competition and Korean LINE and

Chinese WeChat, both with a strong

position in the advertising market in

Europe, are now growing at lightning

speed; they occupy the second and

sixth place on the list of Google Play

respectively.

VIBER, FACEBOOK MESSEN-GER, HANGOUTS DE GOOG-LE+ OR SKYPE are other appli-

FDWLRQV�ZH�¿QG� LQ�PRVW�RI�RXU�smartphones.

FACEBOOK the third most

downloaded app, has be-

come quite a social net-

work where you get all

creative talent as with our best

profile picture we try to win a cou-

ple of “likes”.

The phrases, “Life is really simple,

but we insist on making it com-

plicated.” (Confucius) or “Without

music, life would be a mistake.”

(Friedrich Nietzsche), assure suc-

cess.

But he key is to write love life sta-

tus updates; change the status to

“engaged” and your wall will be

filled with comments wondering

who you´re engaged a to nd when

the upcoming wedding will be!

TWITTER does not escape

this trend. And yes... here

too we dedicate all our ef-

forts to be the most witty

and innovative. One of its biggest

advantages is to know which day of

the week it is!

Examples of this are on Mondays:

waves of tweets from those fac-

ing with pessimism the beginning

of the week or those we call at

Twissst “MEC: Macro - Energy Peo-

ple”, wishing you a fabulous week

at 07:30 a.m. with a photo leaving

the gym ... smiling!

Twitter is the “new pub”. We discuss

football matches, the new look of

Rihanna, the latest reality show,but

in 140 characters, simple and con-

cise, because there are more appli-

cations to update.

Among the most used app

is also Instagram. By the

time you downloaded this

application for sharing pho-

tos, your life has changed ...

what if?

That picture where you are half dark

becomes a piece of art, you never

had a so perfect smile, the village

landscape becomes the Grand Can-

yon or an imaginary Tolkien’s emer-

ald forest.

Apply it a retro-vintage filter and,

being linked to Facebook, Twitter,

Tumblr and Flickr, it is ready for the

world!

32

TRENDS APPSThe number of downloaded apps created continues to grow frantically.

FLIPBOARD , one free app that has 75

million users, described by its creators as a

“social magazine”. It is a must if you want

to know quickly the most shared updates

from your contacts and the latest informa-

tion.

SWYPE, in the top sales downloads

Google Play continues adding down-

load due to the ease of sliding keyboard

PANDORA RADIO is the second

most downloaded application in

these 5 years from the App Store;

the streaming music service is the

most popular in the United States,

overcame Spotify, Deezer or Rdio.

The first is still Facebook, the largest

social network.

34

The number of downloaded apps created continues to grow frantically.

NEOMOD, a ‘doctors-only

whatsapp’ only 10 weeks

old in Spain, solves doctor’s

doubts about patient’s pathologies

COUPLE,, a “for couple” social net-

work, designed for lovers, whose con-

tents disappear when the relationship

ends.

BODY PASSPORT with this applica-

tion you’ll match the measurements on

clothing and avoid annoying returns.

The Net is, nowadays, a basic needs medium. The popularity of Internet connections via smartphones contin-ues to grow and we are already ar-guing about the network future …no less than in 3D!

Internet is moving towards greater interactivity and three dimensions and we’ll be here waiting for it ... but now ... we’ re going to upload the ar-ticle to ISSUU platform to link it to Facebook and Twitter!

35

NICHE SOCIAL NETWORK

All people are

born equal...Then

some become

3QCMMMN?L�M

Photo: Cho HangModel: Carlos FerraMajor Paris PhotographyEdited on TWISSST#1

36

http://issuu.com/twissst/docs/twissst_magazine

All people are

born equal...Then

some become

3QCMMMN?L�M

37

38

Photo: Sonny VendeveldeAW 2013 Gucci Backstage, MilanEdited on TWISSST#2


40

TIMWALKERThe photographer serving the Art

Text / Dilia Parkinson

Photography/ Tim Walker

Translation / Clare Hodgson

41

TIMWALKER

42

A book, a fairy tale ti-

tle and almost un-

describable pictures.

“Story Teller” and an

exhibition at Somer-

set House in London

are part of one of the last works of

Tim Walker, the most unique fash-

ion photographer of our time. The

narrative powers that transferred

to his images contribute to change

the way of capturing fashion pho-

tography.

Darkness, enchantment, fantasy, dreams

are some of the concepts that come to

mind when you think about the work of

Tim Walker.

Many years have passed since he stopped

reading Tintin comics to read fashion

magazines and asked to borrow a cam-

era from his brother in an attempt to be-

come a good photographer.

Today, with over 20 years of experi-

ence behind him and having worked

in the last decade for large reputable

magazines such as Vogue, Vanity Fair

and The New Yorker, he presents “Story

Teller”, a book that includes 175 snap-

shots of the biggest names in fashion

and contemporary culture; the result of

an unlimited, distinctive and exception-

al imagination.

His ideal of developing his

own photographic style

and standing out from the

crowd began when he was

19; Tim Walker was working on Cecil

%HDWRQ¶V�¿OH�LQ�WKH�&RQGp�1DVW�OLEUDU\�in London, before his Art and Photog-

raphy Studies at the Art Institute of

Exeter. Then he moved to New York

DQG� ¿QDOO\� IRXQG� D� MRE� DV� SHUVRQDO�assistant of Richard Avedon. Aged

��KH�KHOG�KLV�¿UVW�VHVVLRQ�IRU�9RJXH�and has worked for the magazine´s

international editions ever since. In-

ÀXHQFHG� E\� %ULWLVK� 6XUUHDOLVP� DQG�traditional English landscape paint-

LQJ��7LP�:DONHU�ZDV�DW�¿UVW�PRUH�LQ-terested in capturing people through

portrait and documentary photogra-

phy but, later recognized that fash-

ion photography allowed him to ex-

plore dreams and fantasies, creating

a recognizable photographic style. His

images, both hyper-real and unreal,

have a dazzling vitality and a range of

vibrant and ecliptic colors. Examples

of these visual stories are his iconic

portraits: fashion designer Alexander

McQueen posing with a human skull

and some cigarettes, tin living sol-

diers, the model Agyness Deyn in the

sand dunes of Namibia, a plane made

44

of giant loaves, a wrecked ship in

a library. All these photographs in-

stantly transport you to another

place. His work philosophy is to

find “the parameters of the impos-

sible”. He defines taking a picture

as: “an extraordinary sense of luck

and opportunity overwhelms you

and urges you to take pictures that

you could not even imagine in your

wildest dreams. This is the magic

of photography. “This British pho-

tographer born in 1970 in Devon

in the South of England remains as

unconventional and different from

other artists as were Man Ray and

Edwin Blumenfeld, who in the early

decades of the twentieth century

46

opened the subconscious, merging

together aesthetic concerns and

fashion photography. His original

vision does not try to capture or

imitate reality. Tim Walker tries to

create a parallel reality, full of emo-

tions, the essence of the unique-

ness in terms of a single and unu-

sual snapshot.

/ His work

philosophy is

WR�¹QG��WKH�SDUDPHWHUV�RI�WKH�LPSRVVLEOH��

47

He can count on for example,

Stella Tennant or Tilda Swin-

ton’s androgyny, Kate Moss’s

complicity, Kristen McMenany’s

particularity and Daphne Gro-

eneveld’s sheer ingenuity.

Fashion photography has cata-

pulted itself to an unrecognized

art scene in our history. The ca-

pacities for imagination and in-

novation that fashion requires,

its high demands, allow us to

get into worlds of rare beauty,

where past and future, reality

and fantasy are embodied in

MXVW�RQH�FOLFN�DQG�ZKHUH�7LP�:DO-ker is the perfect ambassador .

48

50

Photo: Sonny VendeveldeAW 2013 Valentino Backstage, Paris

Edited on TWISSST#2


51

Photo: Artur CabralEdited on TWISSST#0

3KRWR��(OLV�3RUÀULREdited on TWISSST#0

Specialthanks

080 BarcelonaAlexandra Simões de CarvalhoAlvaro GallegoAna Maria OliverAngela GilltrapÁngela Vero Angelica TinazziAnna GoliasAntonio PalmaArtur CabralArturo Jose VallejoAssociação Moda LisboaBaltic Fashion FederationBartosz Ka NachtigalBenedicta MoyaCarla PiresCarlos FerraChloe YakuzaClaire O’DonnellClare HodgsonDaniel DuniakDaniela Cataldo

Daria KochanDavid Lariño TorrensDilia Parkinson Diogo Ângelo MegaElena ArteagaElena DonàEleonora MaggioniElis PorfírioEmma Santoyo MartinEwa WilkosFashion Philosophy, Poland Fashion WeekFrancesco MarangonGiuglia ChiaravallottiGrzegorz KorzeniwskiIsabel Garcia MeginoJacek JelonekJaime MasipJames MassoudJavier SantamariaJemima DaisyJennifer MarquesJoão Pedro Vasconcelos

52

thanksJose Manuel DelgadoJuan VidalKamil SobczykKatarzina KrolakKaterina KorssKris SchmitzLaura ParisiLaura PauneroLaurent HumbertLucas CastroLucia GarciaLucía García García Magda WitczakMagdalena Kurowska-Shokerin Major ParisManuel AlvesMarcelMarcin PaszkoMarco MoreiraMarzena Janik Mercedes-Benz Fashion Week MadridNuno Moreira

Nuria Pérez Patrick AbbattistaPaula de Frutos Piotr WojnisPortugal FashionRDK ProductionsRicardo Gonzalez NaranjoRiccardo CapuzzoRiga Fashion WeekRobert RyzekRui VascoRute Martins Ruth GaillardSemaine de la Mode Masculine PARISSimon LorezinSio Cho HangSonny VendeveldeTatiana BalvasTelma RussoThe New Vega StudioTúlio Brandão:HVHOLQD�*DFLĔVND

53

Photo: Sonny VendeveldeAW 2013 Versace Backstage, MilanEdited on TWISSST#2

54


55


DIESEL Backstage

56

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECTION,Z Zegna Backstage, MilanEdited on TWISSST#2


57

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECTION,Versace BackstageEdited on TWISSST#2


RIGAFASHION WEEK The Winter Collections

Full Review

Of our first visit to the Latvian capital we remember a city with the values of a Northern European capital: an extraordinary respect for its own heritage, for public spaces; a breathtaking architec-ture and a rich and flavoursome cuisine. But we also travelled there in search of design, and fashion design in particular, and what we found was truly rewarding.

In its 18th edition, the Riga Fash-ion Week - included in the Baltic Fashion Federation - presented the Autumn/Winter 2013/14’s of-ferings of a series of artists from

Latvia, Estonia, Lithuania and Be-larus and also of COMEFORBREAK-FAST, a brand created in 2009 by the Italian design duo Antonio Romano and Francesco Alagna. The leading thread of most of the creators resides less in the con-cept and more in the shapes and volumes of the collections; the winter coat was one of the most reworked, elaborate and visually striking pieces. Equally striking was the swap between short and long garments, between moments of opulence and absolute minimal-ism where design spoke for itself, free of any attachment. In a time

58

RIGAFASHION WEEK The Winter Collections

Full ReviewText: Norberto Lopes Cabaço

Photo: Mark Litvyakoff

Translation: Clare Hodgson and

Magdalena Kurowska-Shokerin

when fashion as an industry un-dergoes a reorganisation of priori-ties, where the superfluous does not compete with the necessary, it was interesting to observe that the Baltic fashion industry has tak-en those values and transformed them into collections that seek to overcome this difficult situation. These offerings are in line with a contemporary design that does not underestimate commercial flair and dedication to the end custom-er. The mix of timeless design and quality of materials makes sense in Riga, on the catwalks and on

the city´s streets. Riga displayed the Winter collections aptly cov-ered in snow and chilly sub-zero temperatures, this weather clear-ly influenced the designers´ crea-tive processed as we observed an extreme care in the presentation of pieces made of warm and no-ble materials such as pure wools, cashmere and wool blends, mo-hair, alpaca, leather and furs.

In order to genuinely exist, fash-ion must be on the streets, and if this is the basis of the industry´s continuity, Riga Fashion Week can expect a future full of promise.

59

ALEXANDER PAVLOV (LATVIA)

Practicality and romanticism walked hand in hand in his collection.

Slightly more commercial this time, his pieces showed a more contem-porary cut with oversize trousers and a correct matching of volumes of shirts and jackets to woolen win-ter coats.

We were struck by a predominance RI�HDUWK�FRORXUV�ZLWK�ÀDVKHV�RI�ZKLWH�

60

ALEXANDRA WESTFAL (LATVIA)

One of the most interesting Winter collections. Combi-ning innovative design with a modern woman´s need for movement she managed the always elusive balance essen-tial to any accomplished col-lection. The deconstruction of the blazer was a wink to the Belgian fashion school and the use of contrasting blacks and whites, the rigidity of tai-loring softened by furs put to practice the knowledge gai-ned at London´s Central Saint

Martins and Milan´s Istituto Europeo di Design. Her work was a clear homage to the feminine forms, enhancing the waist in almost all the pieces through cut o the use of belts, resulting in the in-troduction of an effortless-ly natural stylistic element. Westfal presented a Winter collection in all its glory, brin-ging a global vision borne of her experience and commu-nicated in the universal lan-guage particular to Fashion.

61

ANNA LED (LATVIA)

Anna Led is a brand created by the designer Anna Ledskalnina, for the winter she offers a very fashion-able effortless vibe. There was not just one vibe in the collection, this wasn t́ a “One Note Collection” but a collection addressing the majority of an urban woman´s needs. And this is also a very modern feeling.

She mixed technical fabrics with organic pieces, presented evening-wear for the day, loose and cocoon like volumes, softening shines with snowy whites.For Autumn/Winter 2013/14 the contrast is in the mood of the Anna Led woman,practical, urban, seeking a label that is per-sonal and modern.

62

COMEFORBREAKFAST (ITALY)

IEVA DAUGIRDAITE (LITHUANIA)

For COMERFORBREAKFAST if “Less is More”...”More is Better”.The brand designed by Antonio Romano and Francesco Alagna is an example of a new generation of fashion desig-QHUV�ZKR�¿QG�LQ�GHVLJQ�D�YHKLFOH�RI�H[SUHVVLRQ�for contemporary art. Based in Milan, they can count on the proximity of the ateliers and the industry´s most sought after savoir faire, dis-played in the intricate confection of the pieces that make up the winter collection. The sweaters and jumpers are the “stilettos”, the “prints”, the DNA of an urban and cosmopolitan customer WKDW�¿QG�LQ�&20()25%5($.)$67�WKH�UHVSRQVH�to his identity and needs. With masculine and feminine offerings, COMEFORBREAKFAST sho-wed that with rigour and dedication, the profu-sion of new ideas can still be viable.

From Vilnius, in Lithuania, Ieva Daugirdaite presented a collection in which technical ma-terials were the protagonists. The practicality of the collection was present during the whole show, based on innovative materials and sha-pes most associated to day-wear conferring a more formal aspect.

We noticed the rigour in the confection, per-fect shoulders and raglan sleeves enhancing movement and a palette of intense yet sober colours. Bottle green was recurring, in trou-sers, dressed and a version of the trenchcoat. Daugirdaite´s women are strong, dedicated and modern, with a wardrobe to match!

63

KATYA KATYA SHEHURINA (LATVIA)

Shehurina’s Autumn/Winter collection had moments of absolute silence, dresses in sand tones and extremely minimalist “navy” ones, of an almost stoic rigour. Shehurina also showed how melodic she can be; as if it was a music score, she raised the inten-sity of the collection; lace and embroidered patterns on vivid colours such as “gum pink”; she even presented her take on a kimono jacket in oxidised colours!Maybe Shehurina succeeded in providing differ-ent answers to every woman…we hope this was the case.

64

LENA TSOKALENKO (BELARUS)

Tsokalento’s collection representing Bela-rus has brought forward the fabric as its main protagonist rather than using shapes or volumes. Wool and leather coats and tartan capes were wrapped around the models exposing them for contemplation.

The feeling of being well protected was clearly noticeable, extra large jerseys, long coats and maxi skirts creating beautiful and at the same time impenetrable shapes. The matching sets brought together with high heels or boots minimised the tubular effect and added intensity and attractive-ness, highlighting the shape and dignifying the movement.

65

NARCISS

Narciss came up with a romantic idea with a “dark Twis(ss)t” and connotations reminding XV� RI� WKH� VFHQHV� RI� D� ¿OP� QRLU�� 3HUKDSV� WKH�fact that those elements were also to be seen in international catwalks like Milan, and have not only been presented by a single desig-ner but by the whole creative team standing behind the brand of Narciss, will make them even more distinctive.

There were traces of a decadent and poetic nature in some of the garments presented; a dress with an A-shaped skirt, a coat covering shoulders constituting an almost gothic version of a “baby doll dress” shown on a stage accom-panied by the light of dozens of perfectly lined candles. Evidently showing the contrasting ide-as of political correctness and neoliberalism, the breaking up of two generations of women, pos-sibly this might have been the key to Narciss’s VXFFHVV��KDYLQJ�VKRSV�LQ�¿YH�GLIIHUHQW�FRXQWULHV�and aiming to provide answers to questions that have not yet been asked.

66

NATALIJA JANSONE (LATVIA)

Jansone’s proposal for Autumn/Winter season resulted in a sober attestation, with dark shades of mainly black, anthra-cite grey, chocolate and browns.

The stiffness of tailoring has been re-duced by using softer fabric and showing some ascetic loose-fit dresses. The final result is a mixture of safe outfits, well-crafted and suitable for everyday use.

67

NÓLÓ(LATVIA)

POHJANHEIMO (ESTONIA)

The Nóló brand has brought along some of the most in-WHUHVWLQJ�RXW¿WV�RI�WKH�5LJD�Fashion Week. In certain moments of the show we found it hard not to let our LPDJLQDWLRQ�ÀRZ�LQWR�+LWFK-FRFN¶V�VXVSHQVH�¿OP�VFHQDU-ios; a heavy snow, a cliff, a lantern and a feminine ¿JXUH� HPHUJLQJ� IURP� WKH�gloom. It was an almost cin-

ematic atmosphere, roman-tically decadent and con-temporaneously vibrant.The styling helped to create this perception, the models’ hair was romantically tousled and a combination of soft tones such as pastel pink and ash, as well as the mix of silks and wools, crowned the whole setting. This is a concept vast in possibilities and it could be adapted by various women to their real-ities. Possibly some of these garments are already on the “shopping list” of Riga’s it-girls ... and many more!

The collection of this design-er closed the last edition of the Riga Fashion Week. It could simply be summed up as “speechless” This was a moment for contemplation; the models were walking slowly Hackerman style and if Michael Nyman had been in charge of the soundtrack, it would have been a time for senses. Pohjanheimo prob-ably received the biggest ovation on the day, the col-lection being close to perfec-

tion. The couture minimalism, or “Parisian chic”, invaded the catwalk proving the great skill of this author passionate about the purity of forms and functional and timeless looks.The precision of the cut, the pursuit of mobility and cre-DWLQJ�GD\�DQG�QLJKW�RXW¿W��DW�no time neglecting its brand DNA, Pohjanheimo has earned a place in the Golden Book of Riga Fashion Week. “Save the best for last”, might sound like a cliché being used too hastily at times, however in this par-ticular case it surely takes on its full meaning.

68

KRISTINA VALANCIUTE (LITHUANIA)

This was the most avant-garde collection of the week. +DYLQJ�UHGH¿QHG�WKH�QHZ�YRO-umes and shapes it recreat-ed streetwear with its almost futuristic and galactic vision.The bomber was the basis of that project and, in the mid-night blue and the black the designer found some allies so as not to leave anyone indif-ferent.

Despite these pieces being creatively revealing, the ma-jority continues to show a strong and commercial side. Beyond doubt the Asian mar-ket and the Japanese one in particular, will receive with open arms Valanciute’s de-signed concepts for the Au-tumn/Winter season.

70

SKLADNOVA (LATVIA)

ZANETE AUZINA (LATVIA)

The most girlie proposition of the week was in hands of Irina’s Skladnova and we believe that the designer can be considered the best am-bassador of the brand.

Not a single piece of the collection can be seen as inconsistent, worn by its author. At a time in which the “rocky naughty mood” is in fash-ion around the world, Skladnova has surely al-ready won half the battle.

Either due to its “leather biker jacket” or leath-er “babydoll” dresses or in “tartan” patterns she will only need to worry about maintaining the production quality levels to meet the high demand of the customers.

Zanete Auzina has recreated a world of dreams, where the intangible played the key role. Her models presented more of a spring collection rath-er than one for the Autumn/Winter season.Aside from the laborious process involved in creating dresses and a complicated “mises-en-scène”, this collection was totally deprived of any fabric re-minding us of the winter season to the detriment of transparency, ”chiffons” and any other acces-sory the designer considered appropriate for the theme of the collection. Besides it is also true that Auzina created the collection having in mind red carpet events, however, in December, even the most cosmopolitan customers would need a coat for the more luxurious events.

71

72

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECTIONLouis Vuitton Backstage

Photo: Artur Cabral Backstage NUNO BALTAZAR @ ModaLX TRUST 1

Edited on TWISSST#3

73


74

JOINUS.......WILL YOU

... SO I CAN GO HOME?

TWITTER FACEBOOK INSTAGRAM

https://twitter.com/Twissst_Mag

https://www.facebook.com/pages/Twissst/338189596220552?fref=ts

http://instagram.com/twissst_mag/

75

JOINUS.......WILL YOU

... SO I CAN GO HOME?

FACEBOOK INSTAGRAM TumbIR



http://www.twissst.com/

76

Photo: Artur Cabral PINK IS THE NEW BLACK - MARISA GONÇALVES @HADJA MODELS ANGOLA 4Edited on TWISSST#3


77

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECTION,

Lanvin BackstageEdited on TWISSST#2


SPARK/78

SPARK/THE DIRECTORS OF SHANGHAI, SINGAPORE, BEIJING AND LONDON’S OFFICES TELL US ABOUT THEIR VI-SION OF ARCHITECTURE AND REVEAL US SOME OF THE ORGANISATIONAL PECULIARITIES OF SPARK.

Text/ Mauro Parisi

Translation: Magdalena Kurowska-Shokerin

Photography/ Ymkje Repko - www.architectuurreis.com

79

SPARK successfully combines the

best of international experience

with local talent with a team of

over 100 people of 16 nationalities

in its four offices based in Beijing,

Shanghai, Singapore and London.

Undoubtedly a popular slogan in

for present days: “Think Globally,

Act Locally “can easily be applied to

the essence of their activity! Their

The historical changes taking place in the modern world over the last few years can be seen in almost every sphere of activity

and architecture does not remain immune to them.

Formerly only European, American or

Japanese cities would lay their hands

on more futuristic architectural and ur-

ban projects, nowadays however others

have also joined in this race, amongst

them: Beijing, Abu Dhabi, Shanghai,

Singapore, Guangzhou, Mumbai or

Jakarta. In all of them we can obser-

ve a continuous rise in the number of

public and private buildings striving to

face up to the modern urban challen-

ges by adding to their skylines a touch

of “novelty” so emblematic for western

metropolis. There are also globally re-

cognized companies that respond acti-

vely to this architectural awakening in

these new cities. This is the case of the

architectural consultancy, SPARK, who

for the past ten years have been de-

dicating themselves to creating ‘iconic’

projects not only in Asia or the Middle

East but in Europe as well.

80

ambition is to produce an archi-

tecture that is pragmatic, social

and that encourages convivial-

ity; to create works that fulfill

the client´s requirements and

guarantee the profitability of the

final project.Some of their crea-

tions have received international

awards, such as their redevel-

opment of Clarke Quay in Sin-

gapore, Shanghai´s International

Cruise Terminal, the Starhill Gallery

retail centre in Kuala Lumpur and

the Raffles City complex in Beijing

and Ningbo. Each and every one

of them has become an emblem of

the cities in which they stand, as

for example the Chrysler Building

decades ago became a symbol for

New York City.

Photography/ Bass and Flinders Gateway Project

Courtesy of SPARK

81

Stephen Pimbley founded Spark

in 2008 in Singapore together

with German architect Jan Felix

Clostermann. The company ex-

panded by opening three more

offices in Shanghai, Beijing and

London. At present the manage-

ment team has Mingyin Tan and

Sven Steiner as heads of the

Shanghai office, Clostermann in

charge of the Beijing office and

Max Titchmarsh in charge of the

London office. TWISSST wanted

to find out a little bit more about

‘‘ Their ambition is to produce an architecture that is pragmatic, social and that encourages conviviality

‘‘

82

the company and approached the

SPARK to learn about their ideas,

what the meaning of architecture

today is and what direction it may

take in the near future. In the first

place however we would like to

present some of the most ‘iconic’

creations of Spark, the firm can be

found in the “World List” of most

sought-after architectural consul-

tancies. We begin with the reju-

venation of Clarke Quay in Singa-

pore in 2006. This old port area

has been completely redeveloped

by SPARK Architects’ and current-

ly attracts over 12 million visitors

a year. The key to its success is

the ingenious creation of a micro

– climate through a system of

shading and cooling that reduces

the humidity and temperature by

5°C in comparison to the “outside

world” while remaining an outdoor

attraction where one can enjoy the

stunning views of Singapore har-

bour. After completing Clarke Quay

several other urban and retail pro-

jects have been undertaken.

‘‘ Their ambition is to produce an architecture that is pragmatic, social and that encourages conviviality

Photography/ Guangzhou Science Town

Courtesy of SPARK

83

Photography/Clarke Quay Singapore

Charlie Kwan

84

The International Cruise Terminal in

Shanghai saw the light in 2011 to-

gether with the Starhill Gallery in

Kuala Lumpur and Rihan Heights,

the residential complex in Abu Dha-

bi; shortly after them, the residen-

tial and commercial complexes of

Beijing and Ningbo Raffles City. The

Shanghai Cruise Terminal, the new

gateway of the financial capital of

China, combines office space with

40,000 m² of retail space and a kilo-

meter long riverside park reflecting

the sinuous forms of the accompa-

nying buildings.

85

According to Pimbley, SPARK endeav-

ours to create buildings responding to

modern times and to when they are be-

ing built and not necessarily to abstract

ideas or purist values. The Cruise Ter-

minal is a clear example of how SPARK

follows this philosophy without con-

cealing colours, shapes or decorations

that remind us of the vitality of existing

high tech societies. Rihan Heights sig-

QL¿HV�WKH�LQFXUVLRQ�RI�63$5.�$UFKLWHFWV�into the Middle East with a luxury resi-

dential complex in Abu Dhabi consisting

RI�¿YH�UHVLGHQWLDO�WRZHUV�FRPELQHG�ZLWK�14 villas that through their forms, mate-

rials and disposition create a lush land-

scape contrasting with the desert views

of the Arabic country.The Starhill Gallery

in Kuala Lumpur is one of SPARK’s jew-

els; with its sharp pointed angles and

light effects, it has become a benchmark

for fashion orientated architecture and is

now one of the most recognizable land-

marks of the Malaysian capital.

Photography/Shangai Terminal Cruise

Ymkje Repko www.architectuurreis.com

86

interviewTWISSST/Structurally Spark con-VLVWV�RI��RI¿FHV�DURXQG�WKH�ZRUOG��RSHUDWLRQDOO\�� KRZ�GR�\RX�ZRUN"�,V� HDFK� FHQWHU� DXWRQRPRXV� LQ�FRQWUDFW� FORVXUH� DQG� SURMHFW� HOD-ERUDWLRQ�RU�WKHUH�LV�D�FRRUGLQDWLRQ�FHQWHU"�,I�VR��ZKHUH�LV�ORFDWHG"�,V�DOZD\V� WKH� VDPH� RU�PD\� FKDQJH�GHSHQGLQJ�RQ�WKH�SURMHFW"

SPARK ARCHITECTS/Conventiona-

OO\�GHVLJQ�¿UPV�ZLWK�PXOWLSOH�VWXGLRV�operate in either of the two ways you

mentioned. We think neither model is

conducive to engendering a collabora-

tive studio culture.

The problem with the headquarter

structure is you end up with all the

good designers in a place that is far

removed from the client and their en-

vironment and the people from the

EUDQFK�RI¿FH�ZKR�WDON�WR�FOLHQWV�KDYH�no ownership of the design. We belie-

ve you cannot split the architectural

process into two distinct parts: design

and coordination.

7KH� RWKHU�PRGHO� ZKHUH� RI¿FHV� ZRUN�separately but under the same name

suffers from inconsistent quality and

YHU\� XQKHDOWK\� ¿QDQFLDO� FRPSHWLWLRQ�among the branches. It means you just

have a bunch of separate small com-

panies rather than one large one that

can combine forces to deliver complex

projects. Spark’s - third model if you

like - of a collaborative network was

JURZQ� IURP�RXU� ¿UVW� SURMHFW� LQ� $VLD��When we designed Clarke Quay it was

an online collaboration between three

studios and it worked remarkably well

as the people involved had all wor-

ked together before personally. We

see collaboration as a way to create

consistency. Every studio designs and

coordinates their own projects. People

from other studios who are speciali-

]HG� LQ�D�FHUWDLQ�DUHD�JHW�ÀRZQ� LQ� WR�support local teams.

Studio leaders meet monthly to discuss

the development of our design output

in addition to the exchanges between

the architects. There is no competition

DV� SUR¿WV� DUH� VKDUHG� DPRQJ� DOO� VWX-dios. Support functions like Finance,

PR, Graphics, IT are distributed across

the four studios instead of being con-

centrated in one place.

We see collaboration as a way to create consistency

87

7KLV�LV�DOVR�VWUXFWXUHG�WR�EH�ÀH[LEOH�as different geographies experien-

ce different rates of growth. Today’s

technology makes it much easier to

connect the different studios.

Apart from obvious things like vi-

deo conferencing, we have an online

portfolio where every Spark mem-

ber can check daily what the other

studios are producing. Our servers

are set up such that data is mirro-

red daily so that every studio works

from the same environment.

%HLMLQJ��.XDOD�/XPSXU��$EX�'KD-EL��7LDQMLQ��VFUROOLQJ�WKURXJK�WKH�OLVW� RI� \RXU� ODWHVW� SURMHFWV� ZH�FDQ�VHH� WKDW�\RX�DUH� IRFXVHG� LQ�WKH�)DU�(DVW��,V�WKH�IXWXUH�RI�$U-FKLWHFWXUH��DV�ZHOO�IRU�RWKHU�VHF-WRUV�� WKH� )DU� (DVW"� 'RHV� D� ³IDU�HDVWHUQ´�ZD\�WR�FRQFHLYH�$UFKL-WHFWXUH� H[LVW"� 7KDW� GLIIHUHQWLD-WHV�WKH�DFWLYLWLHV�RI�DQ�DUFKLWHFW��SODQQLQJ� DQG� H[HFXWLRQ� �� EHW-ZHHQ� (XURSH� DQG�� IRU� H[DPSOH��&KLQD�RU�0DOD\VLD"�

The Architecture business has

many drivers. There will always

be a community of high profile

Studios that follow trends of glo-

bal demographic and economic

growth and deliver expressive,

sometimes progressive and often

costly architecture which has be-

come emblematic of the growth

and wealth that feeds it.

This vanguard, or ‘caravan’ of de-

sign is often packed up and repo-

sitioned elsewhere as companies

respond to the next geographic

boom. It is currently heavily con-

centrated in the Far East, but in

10 years it may be elsewhere,

like Africa. Left behind is the con-

tinued need to provide houses,

offices, schools, hospitals and

to sustain communities, which is

the lifeblood of the profession.

SPARK are interested in both the

progressive and the legacy dri-

vers of our profession. We seek to

innovate but we are driven by the

desire to provide buildings that

serve the communities in which

they are built, regardless of the

economic context. The mecha-

nics of delivering a building in

Asia differ often widely from tho-

se in Europe, from

We are driven by the desire to provide build-ings that serve the comunitiesin which they are built

88

the planning It is true that

commercial projects dominate

Spark’s burgeoning Asian port-

folio perhaps a direct result of

the dominant market typologies

and Spark’s current client list.

Our European work pre Clar-

ke Quay our first project in Asia

was dominated by public buil-

dings including schools, railway

projects and cultural buildings,

Clarke Quay opened a door into

the commercial / retail sector for

Spark in which we have achieved

many award winning projects

over the last 10 years. It is a bu-

siness sector that is constantly

involving and reinventing itself

as technology changes the way

in which we work, live and play;

Spark is a leading explorer at

the edge of this culture develo-

ping new sustainable typologies

that reinvent traditional models

of urban planning, architecture

and project development.

We are driven by the desire to provide build-ings that serve the comunitiesin which they are built

Photography/ Rihan Heights

Courtesy of SPARK

89

%\� DQDO\]LQJ� \RXU� SURMHFWV��DQ�HOHPHQW�VRRQ�EHFDPH�FOHDU�WR� PH�� WKH� LPSRUWDQFH� \RX�JLYH� WR� WKH� FRORUV�� )URP� WKH�&DO\SVR�FRPSOH[�WR�WKH�6KHQ-MLDQ�)LVKLQJ�+DUERXU��IURP�WKH�&ODUNH� 4XD\� 5HJHQHUDWLRQ� WR�7LDQMLQ�:RUOG�7UDGH�&HQWHU�RU�WKH�%DVV�DQG�)OLQGHUV�*DWHZD\�SURMHFW� LQ� :ROORQJRQJ�� WKH�FRORU� VHHPV� WR� PH� DV� LPSRU-WDQW� DV� WKH� VLQXRXV� IRUPV� RU�SURMHFW¶V� HQYLURQPHQWDO� VXV-WDLQDELOLW\��LW�LV�DFWXDOO\�WKDW"

At SPARK we like colour, it is true.

We are a colourful business and

that is reflected in our work. Ar-

chitecture can take itself too se-

riously and lose its focus through

programme and dogma. We find

that the people who use and com-

mission buildings tend to appre-

ciate a bold approach to colour

and we share that appreciation.

5HFHQWO\�HQGHG�WKH�ZRUN�RI�WKH�&DO\SVR�FRPSOH[�LQ�5RWWHUGDP��'R�\RX�KDYH�DQ\�QHZ�SURMHFWV�LQ�(XURSH�ZKLFK�\RX�FDQ�WHOO�XV�VRPHWKLQJ�DERXW"

The 2 year old London Studio is

working on a variety of residen-

tial, mixed use and Urban Design

projects mostly within London. We

will soon be revealing a significant

project in the City of Westminster.

Watch this space.

Photography/ Raffles City Ningbo

Courtesy of SPARk

90

3KRWRJUDSK\��5DIźHV�&LW\��%HMLQJ�&RXUWHV\�RI�63$5.�

91

92

Photo: Maciej Bernas Children of Peru/Katarzyna KrólakEdited on TWISSST#3


93

Photo: Sonny VendeveldeAW 2013 Prada Backstage, MilanEdited on TWISSST#2


0

RIGA94

The cosy and austere beauty

of the Latvian capitalText: Mauro Parisi

Photo: Ekterina LoktevaTranslation: Clare Hodgson

Trip to Riga took place thanks to www.LiveRiga.com support95

Riga, the biggest and most cosmopolitan city of the Baltic is an amazing re-ality ready to remove any precon-

ceptions you may naively have about it. The city is a fascinating mix of medi-eval atmospheres, of early 1900s bour-geois sophistication and of postmodern cultural effervescence. Almost at the same latitude as Edinburgh but 1500 kilometers further east, Riga is the true queen of the former Soviet Baltic.Tal-linn, trapped in its role of medieval vil-lage for tourist or Vilnius, reluctant to leave behind the calm given by its own small size, further enhance Riga, a real city, knowing itself to be fascinating, but not flirting with tourism to the

point of losing its essence and au-thenticity.It seems almost prefer-able not to excessively publicize this city; just to avoid it being transformed into something else, if not worse, certainly different. But, also, Riga deserves to be known more, to be recognized for what it is; one of the most inter-esting cities of the “New Europe”.It is nicknamed the “Paris of the North” but comparisons are al-ways reductive and unflattering; you could in fact easily argue that Riga and not Paris is the city with the largest number of Art Nou-veau buildings ... in the World!

96

There are 750 buildings of this style in the city, the majority concentrated in the area bordering the historic Vecriga (Old Riga), beyond the set of parks that surround it like a necklace and, as the winter cold leaves town, become Riga’s largest green lung. Founded by German merchants in the late Middle Age, Riga was one of the most important cities of the Hanseatic League.Having regained independence more than 20 years ago, it has been seriously dedicated itself to leave behind the dark periods of re-cent history to become a modern cen-tral European city with a characteristic care and respect for artistic heritage and environmental conservation; this

is a city, in particular the historic center, of extreme cleanliness where drop-ping even a cigarette butt on the pavement is con-sidered by the inhabitants a deep lack of education..!

Photo: Nikonaft

97

Photo: Ekaterina Lokteva

98

Riga welcomes us showing us from the be�ginning its most authentic area, crossing the Daugava River we enter into the medie�val heart of the city guarded on one side by the Castle of the Livonian Brothers of the Sword �now seat of the President of the Re�public� and on the other side by the massive and sometimes menacing bulk of the con�troversial Latvian Riflemen Monument

The starting point is undoubtedly the historic old town with its narrow cobbled streets and - to place on our smartphone locator, the Ratslaukumus, Vecriga’ most famous square hosting the impos-ing Blackheads House with its superbly decorated façade, home of the German merchants guild of the city.

According to tradition, it is also the birthplace of the icon of the Christmas decorations: the Christ-mas tree.In 1510, to celebrate the Christmas pe-riod, merchants dragged a huge pine decorated ZLWK�ÀRZHUV�DQG�SODFHG�LW� LQ�IURQW�RI�WKH�KRXVH��this was repeated every year becoming a tradition that, clearly, spead worldwide!

Vecriga surprises us with countless inspiring cor-ners especially if we decide to visit the city in winter, the contrast between the red bricks of its Gothic churches and colorful stately facades and the immaculate white of snow covering every-thing is really shocking, a perfect example, the Lutheran Cathedral Square or behind the Church of Saint Peter.

99

Leaving the old town behind, the �Judendstil� neighborhood is of great interest. Built at the begin�ning of the 1900s, its broad and straight tree�lined avenues re�veal the Art Nouveau that prevails in every detail .

perhaps the most fascinating exam-ples are to be found around the streets of Alberta Iela, Elizabeta Iela and Strelnieku Iela: animals and mythological gods alternate with lush vegetation and threatening and yawning faces to decorate some of

Rigas Judenstila Muzejs

100

the most elegant buildings in the city. Once in the area, do not miss the Rigas Judenstila Muzejs (Riga’s Museum of “Art Nouveau “); archi-tect Peksens’s house is now a mu-seum where you can admire original stained glass windows, curvilinear

furniture, geometric frescos: a true bourgeois house of the twenties, you can feel like one of them for a few minutes ... renting one of the origi-nal hats available for visitors; among bowlers, berets and top hats, there is a favourite style for everyone!

Judenstil’s BuildingStrelnieku Iela Street

Judenstil’s Building Alberta Lela Street

101

A short walk from the museum, on the same Strelnieku Iela, is the Sien-na café, one of the cosiest of the city; ZDOOV�FRYHUHG�ZLWK�ÀRUDO�PRWLIV��ZRYHQ�leather armchairs, original furniture and early nineteenth century tea ser-vices from France or Russia, blueber-ry, fruits of the forest or ginger tarts... will reset your spirits and delight any sweet tooth!But Riga is more than ar-chitectural beauty and heritage, there are places where you can absorb the genuine popular atmosphere; the most important, certainly, the City Central Market. It has been said that going to

Riga without seeing it is like going to Paris without visiting the Lou-vre; it may not come to that but it is undoubtedly a rewarding expe-rience. Depending on the season, in the five halls (one for each type of product) covering a total area of almost 1 km², you can find all pro-duce: rye bread, raspberries, blue-berries, honey, smoked herring, sausages, tomatoes, cucumbers, fresh meat and fish.Through this market, from 1998 a World Her-itage Site, are estimated to cross more than 80,000 people a day.

Photo: Nikonaft

102

Beyond the city center, Riga still provides numerous possibilities.The Andrejasala area concentrates emerging artists who have perfect-ly connected with that interest and love for cutting edge design and the postmodern style characteris-tic of Scandinavian countries. In the North-West area of the city lies

a port open to cultural exchange, with ferries leaving for Stockholm. Among old factories and ware-houses is an urban arts commu-nity that is fast becoming the hip-ster center of the Baltic and one of the coolest areas of Riga with art galleries, creative Labs, work-shops and professional studios.

Photo: Lorenzo FantiniPhoto: Federica Gentile

103

Of undoubted interest, and just a few miles from the city - on the shores of the Baltic Sea – is Jurmala.

Though temperatures for much of the year wouldn´t prove it, it is one of the most famous summer resorts in the area, and since the end of the 1800s it was the fa-vorite resting place of most of the imperial nobility due to its prox-imity to St. Petersburg.

That past is visible by the imposing mansions on its long promenade. Today it remains a major resort for rich families, not only Russians but also Latvians also attracted by wellness and spa centers because, out of season, when it snows or it is totally icy, what’s better than enjoying the warm temperatures of a sauna or a massage in an ex-clusive beauty center?

jurmala

104

Photo: Aleksey NovikovPhoto:Tom Roberston

105

106

Photo: Sonny VendeveldeAW 2013 MENSWEAR COLLECTION, Thom Browne BackstageEdited on TWISSST#2


URBAN GARDENING MADNESSText: Elena Doná / Photo: Helsinki Wayward Plants Plant TramTranslation: Magdalena Kurowska-Shokerin

108

URBAN GARDENING MADNESS

“While attending a conference in the suburbs of Stockholm in the autumn of 1974, I had a chance to take a walk through a community garden situated in close vicinity of some skyscrapers. It appeared to be one of those idyllic summer afternoons with numbers of people looking after gardens a short walk from their residences. Over 30 years back from that day the memory of this scene is still alive in me thanks to its aura of happiness and conten-tment of the individuals who formed a part of it. I myself remember reflec-ting on it. This is it. This is another sign of a civilized society.’”Lester R. Brown, , Environmental Analyst

109

T he English poet Abraham Cowley ZURWH� LQ� �� WKDW� WKH� ¿UVW� JDUGHQ�

PXVW�KDYH�EHHQ�FUHDWHG�E\�*RG�DV�RSSRVHG�WR�WKH�¿UVW�WRZQ�ZKLFK�ZDV�PDGH�E\�&DLQ��6XUHO\�ERWK�PXVW�KDYH�PHW�DW�VRPH�SRLQW�DV�QHDUO\��\HDUV�ODWHU�WKH�WRZQ�FHQWHUV�RI�VRPH�RI�WKH�PRVW�EHDXWLIXO�FLWLHV� LQ�WKH�ZRUOG�DUH�WXUQLQJ�JUHHQ�DJDLQ�<HW�WKHVH�DUH�QRW�FODVVLFDOO\�GHVLJQHG�XUEDQ�SDUNV�RU�WUHH�OLQHG�ERXOHYDUGV��7KH�UHDO�KHURHV�RI�WKH�EDW�WOH�DJDLQVW�FLWLHV�EHLQJ�FRQFUHWHG�RYHU�DUH�WKH�XUEDQ� JDUGHQV�7KRVH� PRGHUQ� UHSUHVHQWD�WLRQV�RI�XUEDQ�DJULFXOWXUH�VHW�XS�RQ�WKH�URRIV�RI�VN\VFUDSHUV�RU� LQ�WKH�DEDQGRQHG�LQGXV�WULDO�DUHDV��7KH�DUWLVWLF�RUFKDUGV��EHLQJ�HLWKHU�WHPSRUDU\�RU�WUDYHOLQJ�IURP�SODFH�WR�SODFH��VXFK�DV�WKH�ZRQGHUIXO�3ODQW�7UDP�RI�+HOVLQ�

NL��HVWDEOLVKHG�LQ��DQG�KDYLQJ�LWV�SODQWV�VSRQWDQHRXVO\�EURXJKW�E\� UHVLGHQWV�RI� WKH�WRZQ��2U�HYHQ�WKH�XUEDQ�JDUGHQV�ERUQ�RYHU�QLJKW�GXULQJ�D�EOLW]�RI�*XHUULOOD�*DUGHQLQJ��DQG�WKHQ�FXOWLYDWHG�ZLWK�D�SDVVLRQ�XQWLO�VXQ�OLJKW��%HDXWLIXO�SODQWDWLRQV��EHLQJ�HGXFDWLRQDO�DW�WKH�VDPH�WLPH��EHLQJ�VHW�XS�RQ�EDOFRQLHV�DQG�WHUUDFHV��ZKHUH�PRUH�DQG�PRUH�RIWHQ�ÀRZHUV�DUH�JLYLQJ�WKHLU�SODFHV�WR�WRPDWRHV��SDUVOH\�DQG�EDVLO�:H¶YH�RI¿FLDOO\�JRQH�XUEDQ�JDUGHQ�PDG��7KH�PDLQ�DGYDQWDJH�RYHU�WKH�WUDGLWLRQDO�JDUGHQV�LV�WKDW�ZKDW�LV�JURZQ�LV�HDWHQ�$FFRUGLQJ�WR�WKH�)$2��E\��PRUH�WKDQ��PLOOLRQ�SHRSOH�ZLOO�EH�OLYLQJ�LQ��PHW�URSROLWDQ� DUHDV�� DQG�XUEDQ�DJULFXOWXUH�PD\�UHSUHVHQW�WKH�RQO\�RSSRUWXQLW\�WR�HQVXUH�VDIH�DQG�QXWULWLRXV�IRRG�IRU�VXFK�D�ODUJH�SRSXODWLRQ�

110

111

3KRWR��+HOVLQNL�:D\ZDUG�3ODQWV

1RQHWKHOHVV� WKH� SODQW� FXOWLYDWLRQ� LV�QRW�RQO\�FRPLQJ�IURP�SXUH�QHFHVVLW\��:KDW� LV� LW� WKHQ� WKDW�SXVKHV�KXQGUH�GV�RI�SHRSOH�LQ�WKH�ZRUOG¶V�EXVLHVW�FL�WLHV�WR�GURS�WKHLU�EULHIFDVH�DIWHU�ZRUN�DQG� UHSODFH� LW� ZLWK� D� SODQWLQJ� KRH"�,W�PLJKW�EH�WKH�WKULOO�RI�ZDWFKLQJ�VR�PHWKLQJ�EHLQJ�ERUQ�RXW�RI�RXU�KDQGV�DQG�D�VHQVH�RI�UHJDLQLQJ�FRQWDFW�ZLWK�QDWXUH�XVLQJ�ORQJ�IRUJRWWHQ�JHVWXUHV��+DYLQJ� WR� DELGH� E\� WKH� F\FOH� RI� WKH�VXQ�DQG�WKH�FKDQJLQJ�VHDVRQV��)RFX�

VLQJ�RQ�GHWDLOV��WDNLQJ�WLPH�WR�VPHOO�DQG� WDVWH��+DYLQJ�ZRUNHG�KDUG�DQG�EHLQJ�UHSOHQLVKHG�ZLWK�HQHUJ\�WKURX�JK�WKH�IHHOLQJ�RI�EHORQJLQJ�WR�D�FRP�PXQLW\��DV�FXOWLYDWLQJ�XUEDQ�JDUGHQV�PHDQV�VKDULQJ��EHDULQJ�LQ�PLQG�WKH�OLPLWHG� DYDLODEOH� VSDFH�� 7KLV� EHFR�PHV� D� QHZ�ZD\� RI� OLYLQJ� WKDW� SHR�SOH�LQFUHDVLQJO\�ZDQW�WR�H[SHULHQFH��+HUH� DUH� VRPH� RI� H[DPSOHV� RI� WKH�H[SHULHQFHV� DOUHDG\� JDLQHG� E\� WKH�SLRQHHUV�RI�D�QHZ�VRFLHW\�

��

3KRWR��$PD�GH�-RQJ��/RQGUHV

��

3KRWR��$PD�GH�-RQJ��/RQGUHV

3KRWR��-LP�+DPPHU��3ULYDWH�5RRI

ONDON / urban agriculture is a business

(YHQ�EHIRUH�WKHUH�ZHUH�DQ\�WDONV�DERXW�WKH� 2O\PSLFV�� /RQGRQ� KDG� KDG� PRUH�WKDQ� �� XUEDQ� JDUGHQV� DQG� LWV� QXP�EHU�JUHZ�HQRUPRXVO\�LQ�YLHZ�RI�WKH�ELJ�HYHQW��0D\RU�%RULV�-RKQVRQ¶V�SODQ�ZDV�WR�FUHDWH��SORWV�RI�ODQG�IRU�WKH�2O\P�SLF�*DPHV� LQ� �� WR� HQVXUH� WKDW� DOO�YHJHWDEOHV�WKDW�ZHUH�FRQVXPHG�GXULQJ�WKH�*DPHV�FDPH�IURP�XUEDQ�IDUPHUV��,W�PLJKW�QRW�KDYH�UHDFKHG�WKH�H[DFW�QXP�EHU��KRZHYHU�/RQGRQ�UHPDLQV�WKH�QXPEHU� RQH� FLW\� RI� RUFKDUGV� DQG� VH�FUHW�JDUGHQV�DQG�VXUHO\�GRHV�QRW�ZDQW�WR�ORRVH�LWV�OHDGLQJ�SRVLWLRQ��WKH�%ULWLVK�FDSLWDO�KDV�MXVW�DSSURYHG�D�QHZ�LQYHVW�

PHQW�RI��WR�IXQG�WKH�RSHQLQJ�RI� FRPPXQLW\� JDUGHQV� WKURXJKRXW� LWV�ZKROH�PHWURSROLWDQ�DUHD��5HFRPPHQ�GHG� JDUGHQV�� IRU� LWV� PDJLFDO� DWPRV�SKHUH�DQG�VPDOO�ZLOG�DQLPDOV�HQMR\LQJ�WKH�WUDQTXLOLW\�RI�WKH�SODFH��7KH�XUEDQ�JDUGHQV�QRW�WR�EH�PLVVHG�DUH��&XOSHSHU�&RPPXQLW\�*DUGHQ��,VOLQJWRQ��FXOSH�SHU�RUJ�XN�� RU� 4XHHQ¶V�:RRG� 2UJDQLF�*DUGHQ��0XVZHOO�+LOO�5RDG��WKH�XU�EDQ�JDUGHQ�LV�KLGGHQ�DQG�SURWHFWHG�E\�DQ�LPSHQHWUDEOH�IRUHVW�DQG�\RX�FDQ�WU\�WKH�JURZQ�SURGXFWV�LQVLGH�D�FRPIRUWD�EOH�FRIIHH�VKRS�WKDW�DOVR�SUHSDUHV�SLF�QLF�EDVNHWV��TXHHQVZRRGJDUGHQ�RUJ��

114

L

3KRWR��&KDUORWWH�5RZH�/RQGRQ

3KRWR��/RQGRQ

8QLWHG�'LYHUVLW\�4XHHQ¶V�:RRG�2UJDQLF�*DUGHQ�

ONDON / urban agriculture is a business

,Q� D� FLW\� ZKRVH� SDWURQ� VDLQW� 6DQ�,VLGUR�/DEUDGRU� LV�DOVR� WKH�SDWURQ�VDLQW� RI� IDUPHUV�� WKH� SDVVLRQ� IRU�JDUGHQLQJ� LV� EHLQJ� IHOW� LQ� D� YHU\�SRVLWLYH� ZD\�� 0DGULG� KDV� D� QH�WZRUN� RI� FRPPXQLW\� JDUGHQV� WKDW�DUH� VRFLDOO\� DFWLYH�� DQLPDWHG� E\�JURXSV�RI�FLWL]HQV�ZKR�ZDQW�WR�VKD�UH� NQRZOHGJH� DQG� H[SHULHQFH� IRU�IUHH��SURPRWLQJ�RUJDQLF�IDUPLQJ�LQ�DEDQGRQHG� SODFHV�� UHFODLPLQJ� WKH�

ADRID / M a network of self-managed orchards created to regain the city territory

WHUULWRU\� RI� WKH�PHWURSROLV� DQG� JL�YLQJ� LW� EDFN� LQ� D� PRUH� WUDGLWLRQDO�ZD\� ZKLOVW� EHLQJ� FRQWHPSRUDU\� DW�WKH�VDPH�WLPH��5HFRPPHQGHG�JDU�GHQV�� 7KH� *DUGHQ� RI� 3DWLR� GH� 0D�UDYLOODV� �6RODU� $QWRQLR� *ULOR�� DQG�RUFKDUG� $OLVHGD� �� DGGUHVV� DQG�QDPH� DUH� WKH� VDPH�� DUH� D� IXVLRQ�RI� VWUHHW� DUW� DQG� YHJHWDEOH� FXOWL�YDWLRQ��UHGKXHUWRVXUEDQRVPDGULG�ZRUGSUHVV�FRP�

��

3KRWR��0DGULG�5�KR[�3DWLR�0DUDYLOODV

$PRQJVW� WKH� PDQ\� JDUGHQV� RI�%HUOLQ� WKHUH� LV� RQH� WKDW� GHVHUYHV�VSHFLDO�DWWHQWLRQ��7KH�OHJHQGDU\�DLUSRUW� RI� 7HPSHOKRI� KDG� LWV� ILUVW�IOLJKW� LQ� �� LQ� �� DIWHU� DO�PRVW�D�FHQWXU\�RI�VHUYLFH�WKH�DLU�SRUW� ZDV� FORVHG� DQG� DEDQGRQHG��7KUHH� \HDUV� ODWHU�� D� VPDOO� JURXS�

ERLIN/ B the story of an airport that became an urban garden

RI�%HUOLQHUV�GHFLGHG�WR�LQYHVW�WKHLU�WLPH� GHYHORSLQJ� LW� DV� D� JDUGHQ�DUHD�� 7KH� SURMHFW� ZDV� DSSURYHG�E\� WKH� *HUPDQ� DXWKRULWLHV� DQG� LW�QRZ� KDV� PRUH� WKDQ� �� YROXQWH�HUV�� 7KH� SODFH� EHFDPH� D� EHQFK�PDUN�IRU�WKRVH�ZKR�ZDQW�WR�EHJLQ�WKLV�QHZ�ZD\�RI�OLIH�

1163KRWR��-XOLD�'HLPDQQ��%HUOtQ��7HPSHOKRI�$LUSRUW

7KH�URRIV�RI�3DULV�EHLQJ�VR�FODVVLF«:K\�QRW� JURZ� SODQWV� RQ� WKHP",W� VHHPV� WKDW�WKH�KLJKHU� WKH\�DUH�� WKH�EHWWHU��7KH� LQL�WLDWLYH�FUHDWHG�DQG�ODXQFKHG�E\�DVVRFLD�WLRQ�7RSDJHU�DQG�$JUR3DULV7HFK�6FKRRO�LQ�'LVWULFW�1R��3DULV�FRQVWLWXWHV�WKH�PRVW�LQWHUHVWLQJ�XUEDQ�DJULFXOWXUH�H[SHULPHQW�LQ�3DULV��7KH�URRI�RI�WKH�VFKRRO�KDV�EHHQ�WUDQVIRUPHG� LQWR�DQ�RSHQ�DLU� ODERUDWRU\�FRYHULQJ�DQ�DUHD�RI��Pð�ZKHUH�SODQWV�

ARIS / Potager sur les toits...P

JURZ�LQ�SRWV�ILOOHG�ZLWK�D�FRPSRXQG�RE�WDLQHG�IURP�PXQLFLSDO�RUJDQLF�ZDVWH��,W�LV� D� GRXEOH� VXFFHVV�� IUHVK� YHJHWDEOHV�DQG� OHVV� MXQN� DW� KRPH�� 1HYHUWKHOHVV��IRU� WKRVH� VXIIHULQJ� IURP� YHUWLJR� WKHUH�DUH� DOVR� RWKHU� RSWLRQV� WKH� -DUGLQ� )HV�VDUW��'LVWULFW��EHLQJ�RQH�RI�WKH�RS�WLRQV�� D� VPDOO� FRPPXQLW\� JDUGHQ� WKDW�LV�IXOO\�RUJDQLF��FKHHUIXO�DQG�YLVLRQDU\�DQG�VLWXDWHG�RQ�WKH�JURXQG�IORRU�

117

3KRWR�3DUtV��-XGLWK�2WW��-DUGLQ�)UHVVRQ

RBAN GARDENS TO VISIT IN OTHER CITIES/UAmsterdam:�ZK\�QRW�WDNH�D�ELNH�WRXU�WR�YLVLW�WKH�FLW\¶V�XUEDQ�JDUGHQV"�7KLV�LV�RU�JDQL]HG�E\�WKH�DVVRFLDWLRQ�&LW\�3ORW��PHHWXS�FRP��&LW\SORW��$PVWHUGDP��7KH�FR�ROHVW�JDUGHQ"�&HUWDLQO\�WKH�6WDGVERHUHQ��%LOGHUGLMNNDGH��VWDGVERHUHQ�RUJ��

Barcelona:��)RUDW�GH�OD�9HUJRQ\D��LQ�H[LVWHQFH�IRU�QHDUO\��\HDUV��VHOI�PDQDJHG�DQG�DOZD\V�RSHQ��LW�LV�DQ�LGHDO�SODFH�WR�EURZVH��ORFDWHG�LQ�WKH�KHDUW�RI�WKH�%RUQH�GLVWULFW��,W�FDQ�EH�GH¿QHG�LQ�RQH�ZRUG��ORYHO\��OKRUWHWGHOIRUDW�EORJVSRW�FRP�HV�

Dublín:�8UEDQ�)DUP��.LQJV�,QQV�6WUHHW��SURGXFLQJ�IRRG�RQ�WKH�URRI�RI�D�FKR�FRODWH�IDFWRU\�GRZQWRZQ��WKLV�LV�D�ZRUN�LQ�SURJUHVV�RI�ZKLFK�ZH�ZLOO�VXUHO\�KHDU�JUHDW�WKLQJV��XUEDQIDUP�LH�

Lodz, Poland:�$�EHDXWLIXO�SHUPDFXOWXUH�SURMHFW�PDQDJHG�E\�WKH�6RFLDO�7KHUDS\�&HQWUH�IRU�<RXWK�LQ�WKH�&LW\��D�SODFH�WR�ZRUN��SOD\�DQG�VRFLDOL]H��WYVN\�SO�PRV��

Oslo:� *URZ/DE� �)RVVYHLHQ� �� D� SODFH� WR� JDLQ� NQRZOHGJH� DERXW� KRUWLFXOWXUH�WKURXJK�VHPLQDUV�DQG�ZRUNVKRSV�DQG�WR�HQMR\�JRRG�IRRG��IUHVK�IURP�WKH�JDUGHQ��JURZODERVOR�ZRUGSUHVV�FRP�

Prague:�3UD]HOHQLQD��.RPXQDUGĤ��$�VXSHU�RUJDQL]HG�RUFKDUG�ZLWK�ZRRGHQ�FRIIHH�WDEOHV��ZKHUH�\RX�FDQ�UHQW�D�JURZ��EDJ�ZLWK�HYHU\WKLQJ�\RX�QHHG�WR�JURZ�\RXU�RZQ�SLHFH�RI�ODQG��XQPLVVDEOH��KWWS��SUD]HOHQLQD�F]�

118

)RWRJUD¿D��/RQGUHV��&XOSHSHU�&RPPXQLW\�*DUGHQ��5RPD��*LDQOXFD�=XSSDUGL�2UWR�&DSRYROWR��%DUFHORQD��6DQ�0LJXHO�

RBAN GARDENS TO VISIT IN OTHER CITIES/

Roma:��2UWR�&DSRYROWR��9LD�$UGHDWLQD��$�ZRQGHUIXO�DQG�FKDUPLQJ�VSDFH�WKDW�ORRNV�OLNH�VRPHWKLQJ�RXW�RI�D�IDLU\�WDOH��UXQ�E\�\RXQJ�SHRSOH�ZLWK�GLVDELOLWLHV��,Q�VXPPHU�LW�EHFRPHV�WKH�WHPSRUDU\�KHDUW�RI�DUW�H[KLELWLRQV��FUDIW�PDUNHWV��DQG�D�ORFDWLRQ�IRU�RXWGRRU�WKHDWHUV�DQG�FRQFHUWV��RUWRFDSRYROWR�EORJVSRW�LW��

Viena:�&LW\�)DUP�6FK|QEUXQQ��*U�QEHUJVWUD�H��$Q�DUHD�RI��P��RI�EHDX�WLIXO�JDUGHQV�DQG�SDUNV��ORFDWHG�RQ�WKH�JURXQGV�ORQJ�DJR�YLVLWHG�E\�WKH�(PSUHVV�6LVVL��KWWS��FLW\IDUPVFKRHQEUXQQ�RUJ��

119

3KRWR��$PVWHUGDP��)DELR�$QWRQLQL

120

Photo: Kris Schmitz

121

Photo: Sonny VendeveldeAW 2013 Valentino Backstage, ParisEdited on TWISSST#2


0HGRF��5X¿QR�/DVDRVD

2FWREHU�PLJKW�EULQJ�WR�PLQG�WKH�HQG�RI�WKH�VXPPHU�KROLGD\V�EXW�LW�LV�DOVR�WKH�EHJLQQLQJ�RI�D�MXVW�DV�LQWHUHVWLQJ�VHDVRQ�DQG� WKHUH� LV� SOHQW\�RQ�RϑHU�IRU�WKRVH�VHHNLQJ�QHZ�H[SHULHQFHV�7KH� GD\V� DUH� RI� FRXUVH� VKRUWHU� EXW�WKH�ZHDWKHU�HQWLFHV�XV�WR�VWUROO�DQG�ZLWK� WKH� JUDSH� KDUYHVWLQJ� VHDVRQ�LQ� IXOO� VZLQJ�� D� WULS� WKURXJK� WKH� YL-QH\DUGV�RI�%RUGHDX[�VHHPV�LGHDO�

5HJDUGHG�DV�WKH�ZLQH��SULPDULO\�UHG��FDSLWDO�RI�WKH�ZRUOG��WKH�UHJLRQ�FXU-UHQWO\� ERDVWV� �� KHFWDUHV� RI�KDUYHVWLQJ�DQG�D�SURGXFWLRQ�RI�DSSUR-[LPDWHO\� �� PLOOLRQ� ERWWOHV�� VRPH�RI�ZKLFK�FRQWDLQ�WKH�PRVW�H[SHQVLYH�ZLQHV�LQ�WKH�ZRUOG�

,WV� SULYLOHJHG� WHUUDLQ� DOORZV� IRU� WKH�JURZWK�RI�KLJK�TXDOLW\�JUDSHV��DPRQ-JVW�ZKLFK�0HUORW� IRU� UHG�ZLQH�� SUR-GXFLQJ� D� IXOO� ERGLHG� VRIW� ZLQH�� DQG�6HPLOORQ� IRU� D� GU\� ZKLWH� HQGRZHG�ZLWK�WKH�QHFHVVDU\�DFLGLW\�DQG�IUHVK�DURPD��

7H[W��5XWH�0DUWLQV�

Discovering the vineyards of Bordeaux

6DLQW�(PLOOLRQ��=DOERP


¿YH� FDWHJRULHV� DOVR� WDNLQJ� LQWR�DFFRXQW�WKH�SULFH�UDQJH��

7KH�¿UVW�FDWHJRU\��3UHPLHU�&UXV��LQFOXGHV� IRXU� UHG� ZLQHV� RI� WKH�0pGRF� UHJLRQ� DQG� RQH� RI� WKH�*UDYHV� UHJLRQ�� DQG� DUH� FRQVL�GHUHG� DPRQJ� WKH� ZRUOG�V� PRVW�H[SHQVLYH��

'HVSLWH� LW� EHLQJ� D� ZRUOG� UHFRJ-QL]HG� FODVVL¿FDWLRQ�� LW� GRHV� QRW�LQFOXGH�DOO�WKH�ZLQH�PDNLQJ�DUHDV�RI�%RUGHDX[�V�VXUURXQGLQJV��7KH�%RUGHODLVH� UHJLRQ� GLVSOD\V� ODQG-VFDSHV�RI�HQGOHVV�YLQH\DUGV�DQG�XQPLVVDEOH� ZLQHULHV�� WKH� DUHD�RϑHUV� VHYHUDO� RSWLRQV� LQFOXGLQJ�ZLQH� WDVWLQJV� DQG� YLVLWV� WR� VHY-HUDO� YLQH\DUGV�� :H� UHFRPPHQG�WKH�SXUFKDVH�RI�D�:LQH�3DVV�WKDW�JXDUDQWHHV� WKH� GLUHFW� DFFHVV� WR�VHYHUDO�ZLQHULHV�DQG�ZRUNVKRSV��<RX�PD\�FKRVH�D�JXLGHG�WRXU�RU

6DLQW�(PLOLRQ��5X¿QR�/DVDRVD

TKHUH� LV� DOVR� D� ZLQH�FODVVL¿FDWLRQ�� LQWUR-GXFHG�LQ��DW�1D-SROHRQ�,,,�V�UHTXHVW��GLYLGLQJ� ZLQHV� LQWR

RSW�IRU�D�PRUH�SHUVRQDO�DOWHUQDWLYH��D�SULYDWH�FKDXϑHXU�ZKR�ZLOO�GULYH� \RX� WR� \RXU� VHOHFWHG� YLQH-\DUGV�ZKHUH�\RX�ZLOO�HQMR\�D�SUL-YDWH� WRXU�� $OO� WKHVH� VHUYLFHV� DUH�SURYLGHG� E\� WKH� YDULRXV� WRXULVW�RSHUDWRUV�ZRUNLQJ�LQ�WKH�DUHD��

��3RVVLEOH�URXWHV

7R�VDPSOH�VXSHUE�ZLQHV�ZKLOH�HQ-MR\LQJ�PDJQL¿FHQW�YLHZV��WKH�DUH-DV�RI�6DLQW�(PLOLRQ�DQG�0HGRF�DUH�D�PXVW��WKH�PDQ\�FKDWHDX[��DJUL-FXOWXUDO�SURSHUWLHV��DUH�ZHOO�ZRUWK�D�YLVLW�E\�WKHPVHOYHV��/RFDWHG�LQ�WKH�FHQWUH�RI�$TXLWDLQH�6DLQW�(PLOLRQ�LV�D�FKDUPLQJ�PH�

GLHYDO� WRZQ� ZLWK� D� EUHDWKWDNLQJ�DUFKLWHFWXUH�� HDVLO\� UHDFKHG� E\�WUDLQ� IURP� WKH� FDSLWDO�� ,Q� ��LW� EHFDPH�D�8QHVFR�:RUOG�+HULW-DJH�6LWH��LW�LV�UHPDUNDEOH�QRW�RQO\�EHFDXVH�RI�LWV�ZLQHV�EXW�DOVR�EH-FDXVH�RI�LWV�LPSRUWDQW�DUFKLWHFWXU-DO�OHJDF\�

7KH� 0HUORW� JUDSHV� DUH� SUHGRPL-QDQW�KHUH�GXH�WR�WKH�FOLPDWH�DQG�WKH� LQWHQVLW\�RI� OLJKW�ZKLFK�PDNH�LW�GLϒFXOW�IRU�RWKHU�W\SHV�RI�JUDSH�VXFK� DV� &DEHUQHW� 6DXYLJQRQ� WR�WKULYH��

'LVFRYHULQJ�6DLQW�(PLOLRQ� LV�HDV\�WKDQNV� WR� WKH� ZLGH� UDQJH� RI� DF-WLYLWLHV�RQ�RϑHU��VXFK�DV�WKH�6DQW�(PLOLRQ�:LQH�7RXUV�ZKLFK�ZLOO�WDNH�\RX�WR�WKH�PRVW�UHQRZQHG�SURSHU-WLHV�LQ�D�VW\OLVK�FDEULROHW��2WKHU� DFWLYLWLHV� DOORZ� IRU� D� 6DW-XUGD\� WR�EH� VSHQW� WUDLQLQJ�DV�DQ�HQRORJLVW�� OHDUQLQJ� WR� VDPSOH�ZLQHV�DFFRPSDQLHG�E\�JRRG�IRRG�XQGHU� WKH� NHHQ� VXSHUYLVLRQ� RI� D�UHDO�HQRORJLVW��

The area o!ers several options including wine

tastings and visits to several vineyards.


%RUGHDX[��6WHIDDQ

(YHU\�)ULGD\�WKH�ORFDO�WRXULVW�RϒFH�RUJDQL]HV�JXLGHG�WRXUV�RI�WKH�DUHD��LQFOXGLQJ�YLQH\DUGV��'R�QRW�PLVV�WKH�&KkWHDX�6LDXUDF��DQ�LPPHQVH�SURSHUW\�ORFDWHG�RQ�D�YDVW�JUHHQ�SODLQ�ZKHUH�\RX�ZLOO�EH�DEOH�WR�HDW�DQG�MRLQ�VHYHUDO�ZRUN-VKRSV�ZKLFK�ZLOO�WUDQVIRUP�\RX�LQWR�D� WUXH�HQRORJLVW�� OHDUQLQJ�WR� WDVWH�WKH� ZLQHV� DQG� KHDULQJ� WKH� YLQH-\DUGV��VHFUHWV�¿UVW�KDQG��7KH�+RWHO�6SD�*UDQ�%DUUDLO��D�VXE-OLPH�DQG�OX[XULRXV�VWUXFWXUH�RI�WKH��WK� FHQWXU\� LV� DOVR�ZHOO�ZRUWK� D�YLVLW�DQG�DQ�RYHUQLJKW�VWD\��

$SSURDFKLQJ�%RUGHDX[�RQ� WKH�RS-SRVLWH�VLGH�RI�WKH�ULYHU�*DURQQH�LV�WKH�0pGRF��7KH� UHJLRQ� ERDVWV� DQG� H[FHOOHQW�IHUWLOH�JURXQG�DQG�SURSHUWLHV�RI�VLQ-JXODU�DUFKLWHFWXUH��SULGH�DQG�MR\�RI�WKH�TXDOLW\�RI�WKH�YLQHV�LQWURGXFHG�E\�(QJOLVK�DQG�'XWFK�ZLQHPDNHUV�LQ�WKH��WK�FHQWXU\�7KH�ZLQHV�RI�WKLV�UHJLRQ�DUH�FKDU-DFWHUL]HG� E\� WKH� EOHQG� RI� VHYHUDO�W\SHV� RI� JUDSH�� EHVWRZLQJ� WKHP�ZLWK�D�XQLTXH�ULFKQHVV��LW�LV�QR�VXU-SULVH�WKDW�WKHVH�ZLQHV�KDYH�JDLQHG

IDPH� VLQFH� WKH� �� FODVVL¿FD-WLRQ�7KH�UHJLRQ�DOVR�RϑHUV�D�ODUJH�GL-YHUVLW\� RI� ODQGVFDSHV�� IURP� IRU-HVWV�WR�EHDFKHV��

9LVLW� WKH� SUHVWLJLRXV� &KDWHDX�3ULHXUH�/LFKLQH� IRU� D� WUXO\� OX[X-ULRXV� H[SHULHQFH�� RU� WKH� VKRZ\�5HODLV� GH� 0DUJDX[�� D� VSD� KRWHO�ZLWK� DQ� DGMDFHQW� JROI� FRXUVH�� RU�HQMR\� EUHDNIDVW� LQ� WKH� %UDVVHULH�GX�/DF��WDNLQJ�LQ�WKH�ULYHU�YLHZV�ZKLOH� VDPSOLQJ� D� WUDGLWLRQDO� FXL-VLQH�LQVSLUHG�E\�ORFDO�SURGXFH��

Several days may be spent in each region,

a tour combining Bordeaux´s

cultural heritage with the wine traditions of

its surroundings is the most enjoyable

option

DQG� EHGURRP� LQWDFW��DQG�FODVVL¿HG�DV�D�QD-WLRQDO�KLVWRULFDO�PRQX-PHQW��

2Q�WKH�VXEMHFW�RI�IRRG��ZH�KLJKO\�UHFRPPHQG�D� YLVLW� WR� WKH� SLFWXU-HVTXH� PDUNHWV� ZKLFK�WDNH� SODFH� GXULQJ� WKH�ZHHN� LQ� WKH� UHJLRQ�V�YLOODJHV��

6HYHUDO� GD\V� PD\� EH�VSHQW� LQ� HDFK� UHJLRQ��D�WRXU�FRPELQLQJ�%RU-GHDX[�V� FXOWXUDO� KH-ULWDJH� ZLWK� WKH� ZLQH�WUDGLWLRQV� RI� LWV� VXU-URXQGLQJV� LV� WKH�PRVW�HQMR\DEOH�RSWLRQ��%RUGHDX[� ERDVWV� DQ�DUFKLWHFWXUDO�� KLVWRUL-FDO�DQG�FXOWXUDO�KHUL��WDJH�WKDW�SURYLGHV�HQWHUWDLQPHQW�¿W�IRU�WKH�WDVWHV� DQG� QHHGV� RI�DQ\�YLVLWRU�

<RX�PLJKW�VWDUW�WKH�

GD\�ZLWK�D�YLVLW�WR�VRPH�RI� LWV� �� KLVWRULFDO�PRQXPHQWV� DQG� WDNH�LQ�WKH��WK�FHQWXU\�XU-EDQ� DUFKLWHFWXUH�� OLNH�WKH�&DWKHGUDO�RI�6DLQ-W�$QGUp�� WKH� *UDQG�7KpkWUH� RU� WKH� (VSOD-QDGH�GHV�4XLQFRQFHV��¿QLVKLQJ�Rϑ�WKH�DIWHU-QRRQ�HQMR\LQJ�D�JODVV�RI� ZLQH� RQ� D� WHUUDFH�RU�LQ�RQH�RI�WKH�PDQ\�³EDU� j� YLQ �́� OHW� \RXU�SDODWH�JXLGH�\RX«�

7KH� KRXVH� LQ� ZKLFK�WKH� SKLORVRSKHU� 0RQ-WHVTXLHX�ZDV�ERUQ�DQG�UDLVHG��WKH�&KkWHDX�GH�OD�%UqGH� LQ� WKH�%UqGH�UHJLRQ� LV�ZHOO�ZRUWK�D�YLVLW��LW�LV�D�VPDOO�FKD-WHDX� FRQVHUYLQJ� WKH�SKLORVRSKHU�V�OLEUDU\

Bordeaux boasts an

architectural, historical and

cultural heritage that provides

entertainment hit for the tastes

and needs of any visitor.

5HWXUQLQJ�WR�WKH�FLW\�DQG�FRQWLQXLQJ�RXU�ZLQH�WKHPHG�WULS��PDNH�VXUH�\RX�NHHS�D�GD\�WR�YLVLW�WKH�0XVHXP�RI�:LQH�DQG�&RPPHUFH��<RX�ZLOO�OHDYH�%RU-GHDX[�DV�ZLQH�H[SHUWV«ZLVKLQJ�WR�UHWXUQ�YHU\�VRRQ��

RU�DGPLUHUV�RI�SDODWLDO�DUFKLWHFWXUH�WKHUH�DUH�VR�PDQ\�FKkWHDX[�GH�YLQV�LQ�WKH�VXUURXQGLQJV�RϑHULQJ�JXLGHG�WRXUV�DQG�ZLQH�WDV-WLQJV�WKDW�LW�LV�DOPRVW�LPSRVVLEOH�WR�PDNH�D�FKRLFH��F

128

Photo: Maciej Bernas Children of Peru/Katarzyna KrólakEdited on TWISSST#3


Photo: Telma Russo@Modalisboa, Lisbon Fashion WeekEdited on TWISSST#0

129

http://issuu.com/twissst/docs/twissst_number_zero_english_version_23.08

1927

:

WHERE

Text: Eleonora Maggioni

TRADITIONEXPERIMENT JOINS

WHERE The Edinburgh Fringe Festival has al-ways been one of the founding plat-forms for the international theatre scene and undoubtedly a stepping stone for numerous newly emerging artists looking to build their careers and gaining worldwide recognition for their works.

This was exactly a case with “1927”, the English company that arrived in WKH� )ULQJH� LQ� �� ZLWK� WKHLU� ¿UVW�play: Between the Devil and the Deep Blue Sea.

Founded in 2005, a taking its name after the year of the “death” of silent movie, and the release of “Metrop-olis” by Fritz Lang. The producers of 1927 dedicated a huge amount of time to the stage preparation and in particular in developing special techniques that use a mix of theatre originality with animation.

This debut, consisting of a mixture of silent movies and the traditional musical, in no time became a break-through hit of the Edinburgh Festival.

&ULWLFV��XVXDOO\�¿HUFH�WR�PDQ\�QHZ-comers, praised the work of art of 1927. The telephone of Suzanne Andrade, the co-founder of the group has barely stopped ringing when the majority of European theatres of-fered to stage their performances.

TRADITIONEXPERIMENT JOINS

In no time 1927’s style became synonymous with innovation and experimentation, being a fusion of live music and live per-

formances that combine with ani-mations on large screens, all seen through the prism of silent movie, ¿OP�QRLU�DQG�WKH�W\SLFDO�VWRU\WHOOLQJ�format of our childhood.

It brings reminiscences of an old school silent movie, the sensation is similar however, there is an add-ed charm of being part of record-ing and sharing the experience with presenters and with other audience members in tiny rooms where the group normally performs.

In their follow-up play, The Devil and the Children Took the Streets, the company questions whether to introduce changes for fear of becoming too pre-dictable to the audience. Fortunately they decided not to change and con-tinued with that theatrical line of performing that proved to be so successful, it has led them to per-form a few months ago in Madrid as part of the Festival de Otoño en Primavera in the intimate stage of the Cuarta Pared theatre.

The play tells the story of a socially deprived neigh-borhood in the outskirts of any city where neigh-bors spy behind the curtains on the lives of oth-ers and the children cannot play in the streets. As if it was illustrated story, the play comes to life through three actresses (Sue Appleby, Eleanor Bu-chan and Lewis Barfoot) who play several charac-ters at once, rapidly changing their costumes. In the background there are three screens showing LPDJHV� WKDW� UHSUHVHQW� WKH� OLIH� RI� WKUHH� GLϑHUHQW�sceneries and through which the three artists con-tinually pass from one to the other following the narrative dictated by animations.

The story is compelling, told with sense of humor EXW�ZLWKRXW�ORVLQJ�WKH�PHODQFKRO\�WKUHDG�RI�D�¿OP�noir.

This play reminds us of the politically committed theatre of Brecht through the metaphore of power and social classes, a play that also thanks to its particular staging, acquires those traits that make it timeless and always up to date with reality. The project of the company, currently touring around Europe, is to continue interdisciplinary presentations combining animation and live actor’s performances.

Many theatres -for example the Berlin Comic Opera that last year had the

company perform an adap-tation of “The Magical Flute” – are now competing for 1927, nevertheless Suzanne Andrade is convinced that the success of the company is also owed to its small theat-rical being and that it moves in tiny scenic spaces.

And in fact, part of the charm of their latest performance is in the proximity of the audi-ence members to the stage and the possibility for it to be seen up close.

In fact Andrade is deter-mined not to give in to ex-ternal pressures requesting 1927 to return to the Edin-burgh Festival or to perform on larger stages.

We are still a little company, says the founder of 1927 while con-

sidering the possibility of continuing with experimen-tation and the same enthu-siasm that characterized the

the company in changing ZLWKLQ� WKH�¿HOG�RI� FLQHPD-tography.

Hopefully we will see them soon in their third produc-tion and we will be thrilled and enchanted as always!

José Guerrero

The abstract Fauviste

Autorretrato, 1950 Centro Jose Guerrero, Granada

Text: Jose Manuel DelgadoTranslation: Clare Hodgson

136

Guerrero

Colour and a gamble on the freedom of colour, this would be from the

very beginning the work of this painter from Granada, color as a vital means of expression. His work enchanted his contemporaries and many art lovers are captivated by it as well as perplexed by how rarely he is referenced in art gallery café conversations. Born in Granada in 1914 into a humble family, with a boundless desire to learn, he moved to Madrid in search of the artistic teachings promised by the Fine Arts Academy of San Fernando.

He soon became demoralised upon observing that his teachers were more concerned with forbidding the study of Avant-garde artists such as Picasso than in recognizing talent. In the Academy he was only taught about the

Impressionists, most of whom had died 30 years before his arrival. The wil l to discover the works of his contemporaries moved him to request several loans in order to emigrate to Paris in 1945 and to explore what he bel ieved was the art of his t ime. He managed to leave the country and l ive the f irst of many experiences out of Spain. Living in Paris as an impoverished student made him consider the possibi l i ty of l iving off his work, his simple need to paint. In the city of l ight he learns the technique of frescoes and meets Matisse, his paintings captivate him; it is through Matisse that he has his f irst true contact with colour. After a year in France he returns to Granada, he feels i l l at ease, the art, the society and the atmosphere suffocate him. Feel ing out of place he decides to emigrate once again.

Les Marocains en priere, Matisse

137

He moves to Switzerland, Belgium and England where he begins to l ive off his work. He has several successful exhibitions and begins to give colour over f igures a bigger place in his work.

His visit to New York provokes his investigation into abstraction, Guerrero was up to date with the advances of abstract expressionism and avant-garde movements in London, but his arrival in the Big Apple and the study of American artists bring about a change in his painting. In his f irst abstract work The Washerwomen of 1948 Guerrero gives us the first clues to understand his painting.

In the Washerwomen the colour dominates and revolves around oval f igures, ovals f i l led with colour, the Fauve colour-pure and intense-that owes so much to Matisse. We can sti l l make out f igures, arms and legs, but this wil l be a point of no return

in his art, from now on only the geometric, oval shaped figures wil l be repeated, charging the paintings with energy. Only in 1950 did he come back to figure representation, his self portrait painted not by desire but forced to as proof that he was capable of producing a naturalist drawing in order to be able to give drawing lessons.

In his self-portrait Guerrero depicts himself in profi le, fol lowing the Ital ian style but in his gesture we can observe a farewell to this way of painting. His stare indicates the artist´s last glance at his work to date, a last look back in order to gain impulse in the path leading towards abstraction.

The Fift ies herald his creative explosion. Guerrero is now a recognized artist in the art world; he rubs shoulders with Rothko and the gallery owner Betty Parsons who gives him

The Washerwomen, 1948Centro Jose Guerrero, GranadaTwo seamstresses, 1948, Centro Jose Guerrero, Granada

138

the opportunity to exhibit for the first t ime in New York, the world´s art capital at the time.

This is Guerrero at his peak, the best Guerrero, capable of adopting the best of American abstract expressionism, from Motherwell or Pol lock, and converting it in causal ity with complete honesty and clarity. He is asked several t imes whether he is a defender of Action Painting, to which he repl ies negatively, stating that he creates a beginning, a knot and a denouement leaving nothing derived from movement to chance. His focus is to convey his energy from his body and mind to the canvas, the energy being the beginning and the end.

Despite not having the influence in the art world enjoyed by others, nor enjoying relevance or popularity, Guerrero moves, fascinates and above all seduces

the viewer who desires new sensations and artistic plurality. Very few have been able to touch upon so many different artistic styles, learn from them and make them their own with so much elegance.

Guerrero is the epitome of the pupil painter, the painter who absorbs all the qualities of diverse artistic movements during his l ifetime and is capable of excell ing in all and at the same time in none as what he truly searches for is the creation of his style.

A unique and special style as very few have the chameleonic capacity of creatively adapting to their era and place. He is the tireless traveler searching the world for his artistic Modus, the immediate result of this search being his work. A work that as happens often in the world we l ive in, ends where it began, in Spain and more precisely in his beloved Granada.

Serie Sur con Rojo (South Series with Red), Jose GuerreroThe Washerwomen, 1948Centro Jose Guerrero, Granada

139

Cultural calendarKULTURNATTAFrom 11th October 2013. Goteborg Sweden

Every October, theatres, gal leries and cafes in Goteborg stay open late in Kulturnatta. A lot of events are performed: l iterary readings, dance performances, jazz concerts, plays and exhibit ions. The opening ceremony of this year has been in charge of the dancer Carmen Olsson and Spinn bal let. Hundreds of artists wil l encourage every corner of this Southern Swedish city f i l l ing of mystery, passion and creativity; worth it i f you’re considering a tr ip to these cold but interesting Scandinavian lands. More information at: www.kulturnatta.goteborg.se

Texts: Jose Manuel Delgado Ortiz, Rute Martins, Simone Guellar, Thomas Thinwes

140

“The Mistery of the ordinary”. Magritte and Surrealism at MoMAUntil 12th January 2014 – MoMa, New York

Through the work carried out between 1926 and 1938, the exhibition shows the artist ’s evolution in the period when he more came to surrealism. 80 works, including paintings, collages, photographs and graphic models wil l offer to all one approaches the New York museum, the complete manner of Magritte’s World interpretation through the rapresentation of everyday objects.

Vienna - Berl in. Art of two metropolisesFrom 24th October 2013 to 27th January 2014. Berlin Gallery (Berlín) y Galería Belvedere (Viena)

The Berlin Gallery and the Belvedere Gallery in Vienna together present for the first time a major exhibition about the key of modernity; Vienna and Berlin in modern expressionism from the early nineteenth century to the New Objectivity: from Klimt to Grosz. The exhibition is dedicated to “the life” and restores the always

interesting cultural dialogue between Vienna and Berlin, this time from the positions of classical modernism in Fine Arts. This is a selection of artists whose works are on view: Hans Baluschek, Max Beckmann, Otto Dix, George Grosz, Raoul Hausmann, Hannah Höch, Ernst-Ludwig Kirchner, Erika Giovanna Klien, Gustav Klimt, Oskar Kokoschka, Broncia Koller-Pinell, Max Liebermann, Jeanne Mammen, Ludwig Meidner, Koloman Moser, Max Oppenheimer, Emil Orlik, Christian Schad, Egon Schiele and Max Slevogt.

141

Contemporary Arts between Poland and BritainUntil 15th November 2013 - Ujazdowski Castle Center for Contemporary Art. Warsaw. Poland

The exhibition “Brit ish Brit ish Polish Polish. Art from Europe’s edges in the long 90s and Today “ brings together over 20 of the most controversial English and Polish contemporary artists that have marked contemporary artistic streams of the two European countries joined by an increasingly tight l ink. We can admire works

of artists such as the Brit ish Damien Hirst, Chris Ofi l i , awarded by the prestigious Turner Prize, and the Polish Zbigniew Libera and Katarzyna Kozyra already recognized in various national and international contests. Each and every one of them are characterized by the controversies generated by their artistic proposals, always l inked to controversial social and polit ical issues. Among the installations available are “Let’s Eat Outdoors Today” by Hirst, “Pyramid of Animals” by Kozyra or “Lego System” by Libera.

Festival d’Automne à Paris 2013Until 12th January 2014, Paris, France

Paris celebrates the fal l with its dedicated Festival; unti l January 12th a complete review fi lm, photography, opera, theatre and musical performances. Since 1972, its goal is to show new art and new culture in Paris promoting the interconnection between the French and international artists. More than 40 events wil l characterize different sites in the Vil le Lumière as the Pompidou Centre, the Theatre de Chail lot and the Théâtre Champs Tradewinds. Among the names: Hiroshi Sugimoto, Trisha Brown or Olivier Sail lard.

142

William ChristenberryUntil 24th November 2013, Fundación Mapfre, Sala Azca – Madrid, Spain

Will iam Christenberry (Tuscaloosa, Alabama, 1936), creator of an imaginary style with dreamlike touches is situated in a prominent place in contemporary color photography. This exhibition brings us his unique vision of traditional

US Southern landscapes; a vision, product of his experiences, readings and dreams that perfectly blend landscape and social photography. The more than three hundred photographs and various sculptures constitute the most comprehensive exhibition of the photographer realized in Europe so far and an occasion not to be missed by lovers of the Sixth Art.

143

LIFESTYLE & FASHION CULTURE MAGAZINE

ISSUE NUMBER ZERO

ISSUE NUMBER TWO

ISSUE NUMBER ONE

TWITTER FACEBOOK INSTAGRAM TumbIR

Shallwe give these boys a hand?

TWISSST#0

TWISSST#1

TWISSST#2

TWISSST#3

https://twitter.com/Twissst_Mag



http://www.twissst.com/

http://issuu.com/twissst/docs/twissst_number_zero_english_version_23.08

http://issuu.com/twissst/docs/twissst_magazine



Twissst issue #4 english edition_

Documents

Transcript of Twissst issue #4 english edition_