Contrasting rich, buttery song with a brutalist aesthetic, the teaser film released by Gareth Pugh ahead of his AW17 show tonight has us tingling with excitement.
Directed by Pugh’s long-time collaborators Ruth Hogben and Andrea Gelardin, the startling black and white aesthetic is infused with powerful sound courtesy of Rebekah Del Rio – star of David Lynch’s Mulholland Drive – who performs a haunting version of her signature song ‘Llorando.’
The film opens with a quote from Shakespeare’s King Lear, “‘Tis’ the time’s plague when madmen lead the blind”, setting a strong precedent for a political context in his AW17 show. As Pugh notes, the film is “a vision of a world on the precipice of anarchy.”
If Pugh’s previous shows are anything to go by, audiences can expect his AW17 collection to be a damning indictment on the state of current affairs.
Readers, meet Rose Pilkington: her magic manipulation of colour and form has us all hot under the collar. And yes, Rose happens to have designed the cover for Twin issue XV, but we swear we’re not biased when we say you’re guaranteed to fall in love with her work. Designs are playful, bright and hypnotic; she creates graphics to be remembered and stand out. With previous clients that include Jamie XX, H&M and MTV, expect to see much much more of Pilkington in 2017.
On the only snowy day in January, photographer Joe Quigg headed to east London to hang out with Rose and capture the woman splashing colour into your life.
First off, the cover looks amazing! What was the inspiration behind the design?
It was actually a very open brief which is aways a treat be given. Becky wanted to work with an artist to create some bespoke graphics for both covers, so I made them abstract and vivid so as be eye catching.
Specifically, what is it about the colour pink that you find interesting?
I have a life long relationship with colour, but out of the whole spectrum its the one colour that my eye draws too the most, and I’m not entirely sure why. Though i’ve never connected to the colour by its usual association, being categorized typically as a ‘feminine’ colour, which in itself is growing to be an old fashioned connection. Looking at my body of work I can see how subconsciously its made its way into most of my projects, as it is a sort of go-too for me. Funnily enough ive had a client or two who has requested ‘not too much pink’ in the past. For me I mostly judge aesthetically pleasing imagery by way of colour, and I believe pink emits positive vibrations and is a both calming but mentally stimulating colour.
You have a very distinct aesthetic, how did your style develop? Was there a certain point where you felt you had discovered your voice?
Things really started falling into place in my final year at Central Saint Martins (Graphic Design / Moving Image) I was literally given the opportunity to focus soley on subjects, themes and ideas that fascinated me and it was one of my most inspired times. It was also when I started learning 3D software which changed and informed the way I made my work.
There’s always a sense of movement in your work – whether it’s colour fades or through organic forms – what interests you about creating images that convey a sense of change?
Its hard to say, I think those sorts of visual decisions are instinctive, as is my approach to colour. I’m also constantly switching between moving image and still projects, so maybe that also has a part to play in it somewhere.
The Julia Stoschek Collection in Berlin is a private collection of contemporary international art. With the gallery’s focus on time-based media, the ‘Jaguars and Electric Eels’ exhibition is perfectly in keeping with its ethos. Made up of 39 artworks by 30 contributing artists, including installation artist Isaac Julien and sculptor Guan Xiao, ‘Jaguars and Electric Eels’ includes video installations and even fragrance-based art. The works are rooted in our understanding of evolution, investigating an alternative interpretation of anthropology and zoology.
Taking its inspiration from 18th Century explorer Alexander van Hombolt, who was the first researcher to point out how the forces of nature, both animate and inanimate, work together, the name of the exhibition is a reference to Hombolt’s chronicles of the New World. The chronicles were published in 1853, in a special edition entitled ‘Jaguars and Electric Eels’. The collection of works in the exhibition describe a reality that no longer distinguishes between the natural world and artificiality, but sees them as a whole and as equals.
‘Jaguars and Electric Eels’ explores some notable themes, including looking at the existence of indigenous people today, hybrids and synthetic forms of life, migration, and the different influences that impact our constantly changing perceptions of reality.
The exhibition will run until late November The Julia Stoschek Collection in Berlin.
At a time when liberal values are being challenged and questioned in the West, the story of George Montague‘s campaign is timely. In November 2016, George, a 93-year-old gay man, marched on Downing Street to present Theresa May with a petition signed by 16,000 people. The petition demanded an apology for the discrimination against homosexuality and the abuse that gay men endured under the Criminal Law Amendment Act of 1885. Before homosexuality was legalised in 1967, the act often culminated in arrests and criminal records for men persecuted for their sexual orientation.
George, who was convicted of gross indecency in 1974, brought the case to the Prime Minister on behalf of all gay men who were forced to suffer shame and embarrassment as a result of the Act.
A new film from Hilow Films invites viewers into George’s life as he embarks on his journey to No.10, celebrating his activism, sense of humour, loving nature and commitment to securing the ‘sorry’ that gay men of his generation are yet to receive. You can watch the new film exclusively below.