Twin Issue XXII

19.03.2020 | Blog , Twin Book , Twin Video | BY:

“As soon as you can crawl, you are put on a mat to train” quotes Kauan Gracie, recalling her earliest memory to stylist Beatriz Maués. The Gracies’ first female run Jiu-Jitsu academy celebrates the art of self defence through dance and sisterhood – shot by Liberto Filló and styled by Beatriz Maués. The Gracies set the scene for issue 22, where focus, determination and individual spirit are recurring themes throughout our features.

Supermodel Carolyn Murphy covers Twin’s latest issue in an existential polar journey, shot by Hans Neumann. Paolo Such takes a walk with metal rapper Dana Dentata in LA and Stefanie Mosshammer covers the world’s fashion waste with an anthropomorphic clothing series. Molly Matalon explores sex and intimacy and Clare Shilland dreams of space and speed. 

Elsewhere we catch up with the prodigal theatre director Ola Ince who’s fresh from a run at The Donmar and about to tackle Shakespeare’s finest at The Globe; rising star Sophie Leseberg Smith talks the music of poetry and Rochelle White and Hamed Maiye talk the power of food through their creative platform, Eating At the Same Table.

We profile rising Scandinavian artist Ragna Bley and get into the detailed perfection of Ron Nagle’s art. Liv Siddall welcomes the lunar return of The Big Moon and Kate Neave presents the daring feminist art of Harmony Hammond. And the radical vision of Tara Joshi, Otegha Uwagba, Valeria Napoleone and Daisy Walker are celebrated in ‘She Said Boom’. 

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Kate Neave curates: Poem of the Pillow, Frameless Gallery in Clerkenwell Green

19.10.2017 | Art | BY:

Open from the 25th October to the 4th November, Poem of the Pillow is an exhibition that readdresses a patriarchal past from a female perspective, by incorporating elements of art history.

Helmed by artists Beatrice Lettice Boyle and Jessie Makinson, the collection of works also brings forth tropes of Shunga, the historic Japanese art of erotic prints. Shunga depicts explicit erotic illustrations on woodblock prints, which are frequently tender and humorous, and historically intended for both men and women of all classes to enjoy. In this egalitarian art form, women are not passive spectators or permission givers, but are active participants in the sexual encounters.

As is the way in Shunga, Boyle and Makinson give women agency in their work. Their figures hold sexual power and disrupt societal standards and expectations. Using feminine references unapologetically, their artworks embody confident contemporary feminist practices.

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