Art Direction: Joseph Delaney
Photography: Samuel Hearn
Styling: Matt King
Make Up: Molly Portsmouth
Hair: Jody Taylor
Styling Assistance: Hannah Bent
Models: Max Townsend & Lewis Taylor
Matthew Linde is the curator and director behind Centre for Style – an exhibition space and shop which indulges in fashions regularly ignored but optimistic and entertaining possibilities. Based in Melbourne, Australia Linde uses the fashion system as his topic as a curator and as an artist to show us all an exceptionally refreshing way of looking at the industry. Miles away from the elitism, vulgarity and extravagance which is all too often accepted and not challenged within the fashion world, Linde breaks down the way we look at clothes into its raw and democratic simplicity. We all get dressed in the morning, and everyone of us possesses an individual style.
This investigation into how characters express themselves through garments and championing the most underground and progressive thinking young fashion designers around such as Martine Rose, Ekhaus Latta, Nhu Duong, Anne-Sophie Berger and more, Linde is doing wonders in observing how fashion is changing and honestly creating something inherently optimistic for us to think and act by. Rather than accept the language of fashion as being an inescapably consumerist and capitalistic arena his performances and exhibitions show us the possibilities of how fun and creative fashion can be outside our accepted expectations of it.
On Saturday the 29th of November, we will be inviting Linde to the Sang Bleu Contemporary Art and Practice Space for a discussion with Reba Maybury about his work where more details will be announced next week.
However, in the mean time we’ve asked Linde to choose a topic for him to speak to us about which inspire him, with an in depth fashion history knowledge under his belt he’s chosen us his favourite fashion catwalks, from the most absurd, performative, intelligent and implausible shows hidden in the underbelly [...]
Photographer Glen E. Friedman will be showing a selection of his iconic countercultural photographs in London’s Covent Garden later this month organised by All Tommorow’s Parties.
‘My Rules’ accompanies his book of the same title, recently published by Rizzoli, and chronicles American subculture through Friedman’s immersion and observation since the 1970s.
The intense and action packed images of the hip-hop, punk and skateboarding scenes include some of the most seminal portraits of those within it; Run DMC, Black Flag, LL Cool J, Minor Threat, Public Enemy and the Beastie Boys stand alongside skateboarders Tony Alva, Jay Adams and Stacy Peralta as the legends of the underground that Friedman sought to celebrate. The photographs capture countercultures which were largely insular at their inception or ignored by the mainstream and have since become inlayed within our minds as some of the most iconic and seminal images of subcultural icons before their influence became so fundamental to our understanding of the twentieth century. Friedman as an individual encapsulated the raw energy of creation which pioneered this time by immersing himself within these progressive subcultures at their most fundamental moments.
Friedman’s photographs are energetic and rebellious, immortalising pivotal moments that played out in music or on the street through definitive portraits of their counterculture heroes.
The exhibition will comprise of over 50 colour and black and white fine art photographic prints – many of which have never been exhibited before. Classic images from Friedman’s last UK exhibition at the ICA in 1997 are also included. After the premiere in London, the My Rules exhibition will continue to tour worldwide.
Glen E. Friedman ‘My Rules’ Photography Exhibition
November 21st 2014 – January 18th 2015
14 Henrietta St, Covent Garden WC2H
For Simone’s latest article for Sang Bleu she has explored our new expanding relationship with our eyesight and how technology is manipulating its possibilities.
He carefully leans forward, eyes wide open. A comforting UX sound signals the begin, a beam of blue light carefully strokes his retina top to bottom. Another sound follows, this time much perkier. On the display appears a successful verification, access granted. It unlocks.
We use our eyes to access devices, open doors, enter countries and fall in love. Eyes don’t age. We have two and we will never get to see the back of our own heads with them. We call media attention ‘all eyes’ and use them as metaphor for cameras and optics. Eyewitnesses are replaced with smartphones and body cameras worn by law enforcement. We call a surveillance state the all seeing eye. They collect our faces under a program named ‘Optic Nerve’. We say eyes never lie.
The retina and iris are both used for identification as well as security. Retinal scanning is one of the most reliable and precise biometric identifiers, it’s blood vessel pattern remains virtually unchanged from birth until death and is unique even between identical twins. Biometric passports hold our digitised body for smart immigration. Passing by the tall towers at Dubai and Abu Dhabi airports self serve immigration, they scan the iris within 20 seconds and compare it to your passport data. Will this combination of identification and security require an encrypted gaze? Samsung and Apple have been rumoured to introduce eye scanning technology for device unlocking for the Galaxy S6 and the iPhone6. There is something enchanting behind the fantasy of merely resting ones gaze long enough to get what we want. A flirtatious gaze across [...]
Mike Brodie’s ‘Period of Juvenile Prosperity’ is currently on show at Galerie les Filles du Calvaire, Paris as part of Mois de la Photo 2014. The exhibition includes sixty eight works from Brodie’s sold out book of the same title.
Brodie’s series follows the journeys of juvenile freight train hoppers, the discontected surburban youths travelling compulsively without destination across America’s railway tracks. Brodie unveils this invisible world and subculture of which he was a part of for much of the noughties after becoming bored and leaving home for the unknown, perilous adventure of train hopping. The photos aren’t a documentation of the lifestyle, rather an observation and personal account of the people and places travelled through the eyes of their friend.
The photographs are romantic yet brutal; stunning rural landscapes frame grime ridden teenagers cuddled together against steel freight train carts. They’re children that proudly display their wounds, tattoos, blood and dirt as a testament to their authenticity and reckless abandon of the social convention they sought to escape from.
‘A Period of Juvenile Prosperity’ is a striking collection of photographs that seeks to capture the untamed wildness of Brodie’s vagabond family and does so intimately and honestly. Without the presence of contemporary gadgetry and fashions, the photographs are difficult to pinpoint with regards to time and instead capture just the essence of the train hopping experince which has been the arbiter of escapism since the tracks’ inception. Brodie’s photographs are timeless paean to youth and adventure- beauty in a constellation of filth.
‘A Period of Juvenile Prosperity’ is on show at the Galerie les Filles du Calvaire, Paris until the 30th November.
More information can be found here.
Alexander Heir is the man behind New York’s punk clothing label Death/Traitors and artist in his own right, who for the last week has held an exhibition of his new work at Sang Bleu Contemporary Art and Project Space. We spoke to him today about his career, the work he’s showing with us and what he’s going to be upto next. Heir’s pop up shop will be open until Saturday from 12-8pm where you’ll be able to buy some of his artwork, clothes and his new book. And a big thank you to Jura Whiskey for sponsoring the opening on Tuesday evening.
How have you got to where you are now?
I moved to New York City in 2002 from New Jersey to attend the Pratt Institute to study print making. My father was a photographer so I always grew up around art, as a teenager I grew a great interest into Punk so print making seemed to be the logical step to merge the two things that I really loved. The best thing that I got out of art school was the network of young artists that I met who have become great friends that I’m still in touch with. When I was in school I started printing t-shirts with the schools facilities, and by the time I’d graduated me and a friend had invested in a t-shirt press. A year after I graduated I started doing Death/Traitors which is basically the apparel end of my art. So since then I’ve simultaneously been creating t-shirts but also creating my own art work which is on show at the moment at Sang Bleu. As I started the brand the punk scene in New York really started flourishing so coincidentally because of that I’ve ended up doing [...]
Maxime Ballesteros takes photos at his private view at the Sang Bleu Contemporary art and project Space
Photographer and friend of Sang Bleu, Maxime Ballesteros presented the Sang Bleu Contemporary Art and project Space his solo exhibition of work named ‘ENTRE CHIEN ET LOUP’ two weeks ago. Here he has shared with us some of the photographs he took at the private view which have also been shared with Purple Diary of our friends and collaborators including the likes of Ben Cotrell and Matthew Dainty of Cottweiler, Yasmina Dexter, Maxime Buchi, Liam Sparkes, Reba Maybury, Robert Montgomery, Chadd Curry, Emanuele D’Angelo, Dani Smith and more .