Exclusive interview with the emerging video artist Kilian Kretschmer

Meet Kilian Kretschmer, an emerging video artist from Germany. We're catching up on his inspiration, his future and his heroes...

Tell us a bit about yourself as an introduction

How did it all start for you and are you now with a gallery?

I was raised in Kassel, Germany. Thanks to my father, who studied art here, I understood early on that art is about making art. My genre is performance and video art. I like standing in front of an audience, even if I sometimes need to escape after a show. I've always been shy but I am really rewarded being in front of an audience.

I studied media art in Karlsruhe, Germany. On myfirst day at the University of the Arts and Design, I got to know my good friend Thorsten Schwanninger, who I’ve exhibited with many

times since, and we talked about the possibilities of connecting a drum set and a video interactively. I associated the rattle of old film projectors with a drum crescendo, and a year later, in 2006, we came up with my first performance, SCOMP. This performance was a big success and I was encouraged to keep on creating performances and video installations with a performative character. Not all of them have to do with my passion for playing the drums, but it is a recurrent element. I am not represented by a gallery yet, but I’ve recently started investigating for one.

What is the meaning behind your art, if there's one?

I’m motivated to map out the borders between reality and the virtual  I connect both fields using synchronization and comparisons. I talked about this at a lecture I gave on “the art of synchronization” in Ekaterinburg in 2009. With my performances and installations, I engage with the issue of transferring cinematic and virtual actions into reality. I bring up the questions of what is left behind, where the differences lie, and what the consequences of a direct transmission are.

The boundary between reality and the virtual world which in my work SUPERPOSITION is literally represented by a wall, also connects the two fields. The difference and the similarity between borders and connections is something that I deal with in many of my works. I try to create a sense of them by generating equal proportions of time-based and spatially-orientated properties in my art. I also like to follow a sense of balance.

Augmented reality, virtual reality and digital signage accompany us in everyday life. The technical developments behind these fields allow the borders between virtual and reality to blur. In my art, my priority is the emotional realisation of the positive and negative effects of this progress.

Tell us about the favourite piece you've made?

&4& remains very important to me. When I made this work, I found my way. It is also a performance and one that runs in a loop. The audience is encouraged to move freely around the work. I play with the perception of the audience, employing it to switch between time-based and spatial perception. I create a mutual juncture between both forms of perception. A pause in time, and in space, that both end synchronously. In this piece, I re-enact a film that consistently stops at a certain point and starts again at the moment when I return to this point in reality.

http://kiliankretschmer.com/und4und.html

Amongst others, I was inspired by the montage of filmmaker Artavazd Peleshyan, who I assisted during the first year of my studies. I had read a few books on film theory before that, but his way of defining a space in time within a film got me interested in trying out something similar on stage. As I said, I’m interested in the transferal that goes on between cinematic means of expression and reality.

&4& was my first real experience with an audience, because they were physically very close to me, and for myself as a performance artist, because the first time I showed it, it went on for an hour. The room was completely full and the people didn’t want to leave, so I kept on running it in a loop. I was trapped inside my performance and I enjoyed it.

What is your next project?

I’m currently finishing an original-style video installation. I just need a title. It consists of two CRT monitors from a video wall that stand two meters across from each other, facing inwards. Between the monitors, two mirrors in a sand heap form a two-meter high, rectangular pillar. If the viewer stands close enough to the pillar of mirrors, he/she will see the left monitor with their left eye and the right monitor with their right eye. Thus a three-dimensional impression of a stereoscopic 3D video is formed on the monitors, and you see me shoveling a sand heap in front of a mirror.

Because the video is also mirrored down the centre line, I can be seen twice in the

mirror while I am shovelling, whereupon an absolutely symmetrical sand heap arises out of nothing in the middle of the picture. The video shows a perspective that is impossible to achieve in reality. This work is about the separation of action and reaction, and false reflection. The viewer sees me shoveling in the mirror and the rise of the sand heap, but not in the same way as the sand flies from the shovel onto the heap.

Which other artists are you close to and who would you dream to

collaborate with?

Some works were developed in collaboration, like SCOMP and BEATMIKADO. A few

days ago I finished a flip book for the performance I want to become a millionaire by Thomas Geiger.

My website was designed with Nicolaz Groll. During my studies I frequently exhibited with Lukas Kindermann and Benedikt Dichgans. At the end of last year, I took part of a group exhibition at the Bonnefantenmuseum Roermond. The title NACHTFAHRT was borrowed from a work by Roman Signer, which was also part of the exhibition. The artists, including Roderick Hietbrink, Studio Oneindigheid, David Heitz and myself, were all selected because of their closeness to Signer.

My work can also be compared for example to Dan Graham, Anna Jermolaewa (my former professor) or Axel Kretschmer (my father). And since I’ve never quite let go of the dream of shooting a movie, I would love to work with a Hollywood actor, even if it would become a performance in the end. Ideally with Leonardo DiCaprio.

Exclusive interview with emerging artist Aaron Moran

Breakwater, copyright Aaron Moran.

Meet Aaron Moran, the young and dynamic visual artist from Canada ! He recently collaborated with the Spanish-Giant retail company, Zara ! 

Tell us a bit about yourself as an introduction

I am 26 years old and grew up In Langley BC, which is about an hour from Vancouver. I studied at Emily Carr University of Art and design, and received my BFA in 2007. As of right now, I am completing a one year artist residency in Harrison hot Springs, BC.

How did it all start for you and are you now with a gallery?

Definitely, The Cheaper Show. It’s a huge one night event in Vancouver that brings together emerging artists and does a really good job of getting work into the public eye. From this, I met like-minded people who also exhibited in the show and began showing with them and so on. It has really snowballed from there. I am not currently represented by any gallery, but do show quite actively in Vancouver and elsewhere.

What was the Zara collaboration about and how did they approach you?

Zara approached me after seeing my work online via blogs, website etc. When they first spoke with me, I didn’t realize the scale of the company. As the details and discussion emerged, I soon realized that this was going to be a massive opportunity.

Working with them was absolutely amazing – the project consisted of producing work for their windows while allowing me to retaining complete control over my aesthetic. They placed great emphasis on using their reputation and reach as platform for the work, not a marketing strategy. It was important to them that the work remained pure and unadulterated. They were essentially facilitators, using their expertise to help me produce the work and get it an audience overseas. I am still floored by the amount of care and attention that was given from such a large company. The core group I worked with were some of the nicest people I have ever met and I will never forget them or the experience itself.

Artifact, copyright Aaron Moran

Is Zara converting into a gallery too?

Not that I know of – the project was really an opportunity to showcase and work with people whose work they find interesting and inspiring.

How do you make the sculptures and are you planning on using other material in the future, exploring other material?

 The process consists of exploring and acquiring wood from neighborhoods, cutting it down into fragments, and reassembling them with attention given to composition, colour, and dynamism. My work is always produced intuitively without plans or sketches. As of right now, wood is my main focus, as I have the tools and know how to work with it.

What is the meaning behind your art, if there's one?

The work started as a reaction to the urban / suburban development that I grew up with and still continue to see. I use reclaimed materials from these developments to try and produce visual placeholders, or records of what is left behind as waste before condos or strip malls take their place. The pieces mirror toppled architecture and upturned land, and use hard geometric lines to reflect the manner in which land is zoned and sectioned off for use by municipalities.

What is your next project?

I am wrapping up a new series for a group show that will be taking place in the US. Right now, it still on the down low while details are being confirmed, but will be amazing when it comes to fruition.

Which other artists, designers are you close to and who would you dream to collaborate with?

Since the Cheaper Show, I have found a core group of people who keep me inspired and who I have worked with on several occasions. People such as Sarah Gee, Jessica Bell, Russell Leng, Sylvana D’Angelo, and Taryn Hubbard. There are of course plenty more but this is the go-to group.

To finish with, what do you think about the blog?

Fantastic variety, thoughtful commentary, and a noticeable passion for aesthetics spanning all mediums.

Don’t let it Die!

Thanks Aaron !

Exclusive interview with the amazing band Django Django

Over the past few years, British psyche-rock band Django Django from Dalston have been all the talk among music pundits, who have heralded them as the next big thing. Only problem until recently, except for a handful of hugely promising one-off tracks (Storm in 2009, Wor in 2010), there had been no actual album to chew on. That is, until last February, when Django Django released their wild and colourful self-titled debut album. They agreed to give Art is Alive an exclusive interview before their gig in Tourcoing, France, on 22nd May.

When I am taken to the backstage room to meet the guys, there’s actually only half of the band around (I ask myself if that makes it just one “Django”):  David McLean, the drummer and leader, and Tommy, the keyboardist, tell me with a grin that Vincent/Vinny, the guitarist/ vocal lead, and Jimmy, the bassist, have just gone out to buy a football but should be back shortly. David and Tommy are happy to kick off and seem very chilled-out, well accustomed to the exercise and very articulate about their eclectic artistic proposition.  This is not their first time at Roubaix’s Grand Mix, as the band played at the Northern French city’s alternative concert hall last year as Metronomy’s support band. “Our track Storm featured on a French compilation some years ago, so we got people interested, [..] We just seem to go down very well here, people seem to like our music, so if we can carry on selling out our shows we’ll come over. In France you’ve got such amazing food and amazing wine. Over in Britain you’re more likely you get served some ham and toast.” says Jimmy.

About the origins of the band, David explains that three of the Django Django boys first met at Edinburgh College of Arts and started working on bits and pieces together, but they all went their own way in life. It’s only when they had moved down to London for various reasons that they started to work together on a proper project. “We all live separately but about 15 minutes away. We’ll meet every day or every second day, it’s quite intensive. On tour it’s intensive too, but we’re good on tour - Tommy takes the brunt of the verbal stick, but he takes it well. He’s the butt of the jokes, unfortunately for him.” teases Jimmy.

Having read in the press their name had nothing to do with gypsy jazz legend Django Reinhard (nor with “Django Unchained”, Tarantino’s next movie), I then ask David if there is a special meaning attached to it, but there just isn’t. The band was simply looking for a double name that would have a good ring to it, like Liquid Liquid, the 80s US post-punk band, so they looked up words ‘django’popped out of nowhere. Now for the band, it’s a given – and I guess it’s not the most taxing name to carry along!

However unique and idiosyncratic the band might sound, with their iridescent style that mixes dashes of spaghetti western soundtracks, Beach Boy-like vocal harmonies and tribal beats, you can’t help looking for references. A lot of the press pointed out unmistakable nods to the cult Scottish ‘Beta Band’ from the 90s, so I ask Django Django if they are tired of being compared to McLean’s older brother John’s former band. David doesn’t seem to find the association uncalled-for. After all,  the brothers grew up together listening to the same collections of records and both believed there should be no boundaries between genres. And so Django Django takes the same eclectic approach to music, picking and mixing from all sources, regardless of established categories or classifications. When it comes to contemporary bands, David mentions Hot Chip and Animal Collective as the closest bands they are usually associated with – a comparison he respectfully takes on. I then ask the band if there are other art forms that particularly inspire them outside of musical influences. Tommy is almost instantly pointed at as the ‘ visual art’ guy of the bunch.  He says that like ‘normal’ people they all watch a lot of films, read magazines, go to art exhibitions and their inspiration comes from all over the place. As to their debut album artwork, it was sort of a collective effort. “Tommy did the font, based on really early Roman inscriptions, almost like Sanskrit. The shape in the middle is based on a collage Dave did. It’s basically microscopic images of Vitamin C and penicillin – in reference to drugs that do you good as opposed to those that don’t” says Vinny,  chuckling.

As we talk about visual creativity I think about the atmospheric shows Django Django have put on in the past, especially their Live BlackBox Session at the Roundhouse in London which I had seen on Youtube, and ask them if they think of live performance as the climax of their hard work. To my surprise, David replies “Well, yes and no.” But that’s only because the guys are obsessional perfectionists. To them the set is nowhere near where they’d like it to be and needs more time to mature. They hope to be in a better place by the end of the summer and then get as much out of the album as possible. When I refer to their latest appearance on “Later with Jool Hollands”, David seems obviously happy to have been on the BBC’s mythical music show, but it was far from perfect. “With live TV there’s a lot out of your control but it’s as good as it gets, I guess.”

But it’s not just the BBC. There seems to be a general consensus in the press from NME to The Guardian to say Django Django’s first album’s a winner, so I ask how that affects the way they work and think of themselves. Where Tommy claims to be a little oblivious of the critical acclaim, David is more down to earth about it: “It’s easy to be oblivious when it’s all good and you’ve made it. I think if everybody had slated us we’d be sort of pissed off. I guess we’ve always been quite stubborn, in a bit of a bubble so I don’t think much will change. It’s easy for a backlash to happen and everybody to say you’re too successful, or you’re doing too well so now we’re going to try and bring you down, but you really got to get on with what you want to do and kind of ignore the hype and the kind of pressures around you  from people. Most of the press we’ve had is people saying they’re not quite sure what is we do but it’s interesting. I think that’s the main thing so I guess people are intrigued to hear more so that kind of keeps us going on.” Which naturally prompts me to ask their reaction to Chanel’s creative director Karl Lagerfeld’s recent declaration that Django Django were one of his favourite bands.  Turns out they were kind of surprised, as you would be, and went out to buy some sunglasses for everyone to wear one night, in honour of the crazy German designer. Jimmy adds: “I don’t suppose you can really dictate who likes your music. As long as it’s not David Cameron, we’ll be fine.”

It’s a busy year for the Djangos. Hardly was the album released than they went off touring. So I ask them out of all the gigs which are the ones they particularly look forward to? For David the Scot, it’s obviously ‘T in the park’ in Kinross-shire (6-8 July). Tommy seems to have a fondness for Scandinavia. He puts Roskilde in Denmark (5-8 July) and Airways in Iceland [30 Oct- 4 Nov] at the top of the list, a country that “completely took [his] breath away.” when he was last there. Jimmy is eagerly waiting for their trip to Australia and Japan, while Vinny will be just happy to play at home: “I’m from Derry, Northern Ireland. We’re playing there next month for the first time, really looking forward to it. Everyone is going to stay at my mum and dad’s.” With a busy schedule ahead, does that leave any time to think about a second album? “It doesn’t leave us much time to do anything, it hardly leaves us enough time to practise and get this set the way we want it. We’ve only got a couple of days here and there every month to be at home, and then you end up just catching up on your washing so it’s difficult." answers David, always very casual.

I then leave the amazingly approachable gang to chill out a bit before the gig and go back to the pit to enjoy the excellent BRNS, the fascinating mystical band from Brussels who are doing the cover that night. When David, Tommy, Vincent and Jimmy take to the stage with their hand-painted pattern tee-shirts and adjust their gear, you can guess some spectators mistake them for technicians. But as the lights fade, the crowd literally goes mad and the energy in the room seems to galvanise. From jungly samples of Introduction to the playful Skies over Cairo and Django Django’s instant hit Default (used in MIU MIU’s SS 12 Access Campaign video starring Mia Wasikowska), the band reveals the unique psychedelic mix of pop, folk, surf rock, electronica and African vibes of their new album to a bewitched audience. The pace is at times slow and hallucinatory, and then it gets all joyfully energetic. It’s plain to see everyone in the room is having a great time – and the band, led by Vincent and Jimmy’s dabbles at French, appreciate the reception from Tourcoing’s spectators.  After just over an hour of incredibly inventive tunes, the concert is over. “It was amazing, a totally brilliant crowd.  I really had a good time. I enjoyed every minute of it, it was like being in a pizza oven.” Tommy exclaims, as the (now sweaty) band comes to greet the fans shortly after the show. Let’s hope they can remain just as friendly and down to earth for as long as possible!

A huge thank you to Django Django for your time, it was great meeting you – all the very best for the busy and exciting summer ahead!

Thomas  - Special correspondent for Art is Alive from Lille, France.

More info: http://www.djangodjango.co.uk

Exclusive interview with queen of all fashion bloggers Susie Lau from Style Bubble

This fashion blogger needs no introduction since she’s the queen of them all. Not only has Susie Lau been pioneering fashion blogging – she was one of only two bloggers invited to a Gucci show in New York – but she’s genuinely interested in the artistry of fashion-making and, unlike other “social media figures” not (only) about the glam and glitz of the couture industry. Her approach is dedicated, honest, and original. That’s why I wanted to have the opportunity to interview with her.

She opens up about the future of Style Bubble, her contemporary art tastes and her dream collaboration. It’s an honour to share her views with you:

Tell us something we don't know about you as a matter of introduction:

I eat a lot - at least five times a day. 

How did the blog start? 
I was just bored at my daytime job of working in digital media so I started the blog as a sideline hobby. 

What is your biggest achievement? 
Managing to keep the blog for oh, close to six years?

How do you see your blog evolving in the next few years?
The design will change, the content will shift.  I want to try and do bigger stories and then do smaller more filler-y content to the side.  

Who do you take your fashion inspiration from? 

I like the integrity of people like Cathy Horyn and Suzy Menkes.  I don't aspire to be critics like them but I like their eyes-wide-open, no-holds-barred approach to fashion.  Fashion blogging wise, I love Diane Pernet's unique take on fashion. 

Who is your favourite designer?  Of all time? 
That would have to be Yves Saint Laurent.  Right now though, I still think Nicolas Ghesquiere is probably currently the one that is pushing boundaries in terms of textiles and silhouette and gets referenced the most out of all of them.  

What are your tastes in contemporary art like?
Have you seen any interesting exhibitions recently?  I've been really bad with exhibitions - I still haven't seen the Yayoi Kusama exhibition yet which I'm dying to see!  Yves Marchand and Romain Meffre's photography is currently on my desktop - it's not new but their photography of ruined Detroit have been seared on to my brain. 

Do you think that the print market has been affected by the excellency of blogs (such as yours)? 
Probably not. I think if anything, magazines are still very much flourishing and alive.  The problem is there's a LOT OF not very good magazines out there (just as there are a lot of not very good blogs) but the good ones are still inspiring and keeping afloat in terms of revenue - look at the strong readership figures that the like of US Glamour and Vogue and British Elle still hold.  Then titles like Dazed & Confused, i-D, Another, Love, The Gentlewoman still have a strong following.  They will all have to look at their web offerings though to ensure that their website supports their print counterparts and that the two nurture each other.

 

What are your next projects? 
A lot of freelance writing and hopefully a rather exciting project with a brand that involves a round the world trip! 

Are you interested in moving to the other side, I mean, becoming a fashion designer or an artist? 
I don't think so.  I think I have a specific point of view in fashion but it's not one that extends to being a full on designer. 

Do you make money from your blog? 
Yes.  That's all I'll say.

What's your dream collaboration? 
To write for the New Yorker.  I'm not good enough but it's still a lofty aspiration to have. 

Who do you think we should most watch as designers of the future? 
Anthony Vaccarello was obviously a break out star from Paris but I also loved the attitude of Julien David who fuses streetwear with a technical prowess that is really fascinating.  In London, Simone Rocha turned out a beautiful collection and Lucas Nascimento is a knitwear designer that is really quite stunning. 

In New York, knitwear designer Degen is quite provocative and Creatures of the Wind will I think reach new heights.

To finish with, what do you think about Art is Alive?  

An effective contextualisation of art within mainstream culture.

What do you wish to Art is Alive? 
All the best?

Thanks Susie for being so dedicated, interesting and professional… 

Exclusive interview with Spanish artist Nicolás Santos

Nicolás Santos is a young Spanish artist who developed an imagery thanks to collages. He smartly mixes fashion, 30's American-cinema-glamour and boy-related influences, creating beautiful visuals that can disorient viewers. I had the chance to interview with him on his influences and his upcoming Madrid exhibition at La Fresh Gallery.

Enjoy !

How would you describe yourself and how would you describe your art? 
I'm curious and my art is fulfilling.

Currently, do you have an exhibition and where does it take place?
No I don't, but I will have one before summer in Madrid, at La Fresh Gallery, with the work I'm currently working on.

Where do you take your inspiration from?
Mostly from 20th-century subcultures.

Are you represented by a gallery?
By La Fresh Gallery in Madrid.

Who are your favourite "models"? Who would you like to work with?
My favourite model is the one I created matching my own objectives.  I'd rather keep my wishes for me, wishes are all we have left with. 

Do you have any preferred artworks you've made?
The ones to come.

If you were not an artist, what would you be doing?
I would be studying. Not pretty sure what for, but who does?

What is your next project about?
About fashion and desire.

Do you consider that Art is Alive?
Well I would say it's pretty much dead, but we all have to try and keep it alive.

How have you developed your technique?
Through perseverance and determination.

What do you think about this blog and what would you wish it?
Spreading the word is necessary, keep up the good work.

More info on: http://720213.tumblr.com/

Exclusive interview with emerging fashion designer Giuseppe Virgone

For my last interview of the year, I am proud to introduce you to the work of Giuseppe Virgone, an Italian emerging fashion designer who launched his first collection in 2010. Let's dive into his gothic and almost theatrical universe paved with historical references.

When is your brand born?
The project started in late 2009 when I gave birth to a first collection called  "An animal must die". It was unveiled at the RA shop in Antwerp a few days after its opening. I presented my work as a performance with an installation which related to this universe.

Who, from the fashion or "creative world" do you take inspiration from?
I am inspired a lot by the past, by strong characters, Greek mythology, and religious belief.  Also from the works of contemporary artists such as Romeo Castellucci, the Chapman brothers etc. and strangely music inspires me a lot too.

Can you tell us a bit more about your background please?
I am a young fashion designer based in Brussels trained at the National School of Visual Arts of La Cambre in Brussels.

After an internship at Gaspard Yurkievich as a “modist”, I launched my first men winter collection in 2010 called "An animal must die."

This collection evokes the fate of a mortal man, an unconditional love for an animal and the incomprehension of unjustified actions. Space and movements of the body are the essential focuses of my work.

Can you tell us about your latest collection?

I called this collection "Broken agreement" because it defines what Savonarole (an Italian Dominican friar) lived. First, there was a religious belief. This belief drove him mad.  Politics and religion were mixed in his mind, he wanted to control everything but nothing worked. All this power drove him to his loss and his death.

This collection reflects the time when the religious soul is confronted with a half human, half monster shell!

It is a portrait of Girolamo Savonarola, a priest who died in the bonfire in Florence, Italy in 1498. This character took over the city, censored nudity and the vanity of painters of the time. Contemporary thought was not welcome.

This collection is a transformation of the body and the mind. We begin with a very simple world, a mix of sacred and religion which then breaks down and merges into more contemporary shapes, materials, animal tissue, aggressive embroidery stifling the body.

In the end it will give way to fantasy where reality mixes with dream. Bodies are cracking, the power falls, burns the vanity, the mind becomes king! The garment is made up as if the body wanted to say something, a moment of pure grace in which all souls oscillate. Nothing has value, while there, everything disappears. There is not even a border between the body, between words and surfaces.

My work is very dark.

What do you think about French Fashion's scene?

I really like Paris for the Menswear fashion week.  Collections are always right, but perhaps a little hard to penetrate when you are a young fashion designer. I wish for a Belgian fashion week. It would make things easier for us to show our work.

Have you had any support from other fashion figure?

As we speak, I am alone showing this body of work.

What are you expressing through your designs?

First of all I dress a space, a movement and then the body. I like to create a tragedy before suffocating the body. 
I really like the ritual of dressing and undressing. I like to say that throughout our movements, a celebration will be born.

Are you showing at Paris Fashion week or any other fashion weeks?

Yes, I will present my work as a video-performance-look book. I don’t have any space yet.

Where can we find your designs?

My first collection was sold in Antwerp at the RA shop and next month it will be available on: www.ledressing.be

To finish with, what would you wish to this blog and what do you think about it?

Your blog is well designed, a kind of diary for fashion. If you need any fashion information, your blog surely gives the answer.
I’d like to see a list of buyers and some "showroom space".

Thanks to  Giuseppe.

Exclusive interview with fashion film Director Jason Last

SCALPEL/STRADIVARIUS from JASON LAST on Vimeo.

Meet the incredibly talented and well-established fashion film Director, artist and friend Jason Last. Jason has been an Art is Alive supporter since the beginning and exclusively for Art is Alive he agreed to provide more insights on his inspiration, his next projects and his amazing artistic approach.


Can you introduce yourself please?
Hi, I'm Jason Last.

How did it all start for you?
I've always been drawn to moving image & sound - especially growing up watching a lot of music videos & seeing video art. I've always somehow played & worked with video. When I decided to study in Fine Arts,  I specialized in video & from there, it grew - technically & mentally.
In terms of fashion film; defining the genre personally came from my early (to recent) collaborations with Jaime Rubiano. We experimented with, & blended the worlds that drive & inspire us creatively; art, fashion, film, performance, photo. It was quite a natural process.

Can you tell us about your recent projects?
Right now I am working on a longer film with complexgeometries, featuring their SS12 collection w/ Andrej Pejic, & a score composed by Grimes - who is amazing.. called The King's Son.  
Also, completing a film from last year, Barrel Of A Gun (BOAG), which tells somewhat a story through narration. 
Jaime & I just completed Scalpel/Stradivarius (first video above) which we are quite excited about. It is presented by Vogue Italia & features live performance by Sarah Neufeld (Arcade Fire/The Bell Orchestre), who composed the score for the film, & model Meghan Collison. It won Thecorner.com prize at ASVOFF4 in Paris this year, & is circulating to various festivals/ screening at the moment. It features all kinds of designers from Ackermann to Demeulemeester to Givenchy. (http://vimeo.com/31196193)

THE KING'S SON - PREVIEW from complexgeometries on Vimeo.

Which one are you most proud of?
I don't know if we are more proud of one more than others. Each piece has it's own life & identity. I know that as the work grows & develops; so does our ability to make stronger work. We're always defining & redefining what we do.

Is video the best medium to showcase fashion? 
I don't think so. There is definitely an intimacy with the clothing & design that can be achieved with video for the viewer, & there is control over presentation & concept; with music, narrative, whatever... but there's nothing like a strong runway show, & the energy & experience of live performance. Video is an incredible & important vehicle for fashion, but it's only one.

Jason

Who or what do you take your inspiration from?
My past, art, a lot of music, nature. normal things.. too many things. I work very closely with Jaime, who's creative mind continuously pushes hard at our work.

Who would you be interested to work with if you had the choice?
A lot of the people I want to work with are in music. Creative subjects that bring their own art to the table. My art reflected through my idols.
Crossover of genres is very interesting to me. Collaboration is everything. Music, art, fashion, performance - these worlds have always worked somehow together, & those incestuous combinations fascinate me the most creatively.
In fashion, again there are too many designers & models that I want to create & collaborate with.

Would you consider doing something else if you were not an artist? 
No.

To finish with, what do you think and wish to this blog?
Art Is Alive is one of the first sites I remember looking at years ago. & I always have connected to the way it integrates art & fashion. 

More info on: http://www.jasonlaststudio.com

Thank you so much Jason.

Exclusive interview with fashion pioneer Diane Pernet

Diane Pernet needs no presentation but for those who don't know her, she is a world-renowned fashion critic and video journalist based in Paris. Previously a photographer and designer in New York, fashion editor of Elle.com and Vogue Paris.com amongst other responsabilities, she recently reinvented herself as documentary filmmaker, talent scout and fashion blogger on her site A Shaded View on Fashion (www.asvof.com). In 2008, Diane launched A Shaded View on Fashion Film, the world's first fashion and film festival. 

I had the huge pleasure to catch up with her ahead of the Barcelona edition of A Shaded View on Fashion Film Festival which will be held from 24 to 27 January 2012 and I touchedbased on various topics, from her contemporary art tastes to her love for koalas and the programme of the festival. Enjoy !

Tell us something we don’t know about you as a matter of introduction.
I fell in love with a koala bear when I was in Perth, Australia in August and ever since then have become obsessed with saving them from extinction.

Who or what inspires you the most?
Lighting by James Turrell and  Olafur Eliasson, architecture and design by Joseph Dirand, fashion and furniture by Rick Owens. Soichiro Kanbayashi’s amazingly beautiful sculpted wooden chair, films by Mike Figgis, John Cassavetes. I love directors who can make great films. Anything Miguel Villalobos does from photography to sculpture to jewelry, cooking...,  Daido Moriyama, Nobuyoshi Araki, Erwin Olaf, Pierre Gonnard….

How did the idea of A Shaded View on Fashion Film Festival come about?
When I first started this back in 2008, somehow I instinctively knew that ASVOFF would fill a much needed creative gap.  I guess it was because I understood there was already an audience waiting to be served.  But what I could never have anticipated was just how quickly the cross-over between fashion and film would evolve from wild experimentation into a bona fide art form and a valuable commercial outlet.  To begin with, I think the ‘fashion film’ was born out of a real need to breathe life into the old static medium and set fashion in motion through the magic of cinema.  What ASVOFF does is to give people in both industries – and talented outsiders too – a platform to let this genre flourish.  Hopefully, by rewarding excellence in the field, it also keeps pushing them to push the boundaries forward too.

Do you feel that fashion films are the future of “fashion marketing” i.e complementing catwalk shows, streamed live catwalk shows, lookbooks etc. ?
Four years later, the two disciplines have grown even closer thanks to the incredible impact of the digital revolution, new commercial realities and a mutual fascination between fashion and film industry leaders.  But it’s not only that.  As online, tablet and smartphone media channels grow ever more important, ‘fashion film’ is also filling important business niches and offering artistic solutions to challenges we could never have imagined even a few years ago.  It’s also creating totally new, sometimes unexpected opportunities as it goes along.  ‘Fashion film’ makes perfect sense in today’s world where we have the live streaming of catwalk shows, click-to-buy video e-commerce functionality, behind-the-scenes and fly-on-the-wall fashion brand documentaries – not to mention video ads spreading virally like wild fire through social media networks.  There’s something in the bigger picture too, you know.  Fashion is still a hot topic for reality TV shows; there are biopics of fashion designers coming out left, right and centre; designers are moonlighting as Hollywood film directors – and actresses as designers.  I don’t think there has ever been a better moment for a festival like ASVOFF than now.

Why a Barcelona edition for the festival? Is Spain an inspiration (I guess so given the mantilla which is part of your look)?
Actually 4 or 5 years ago I did my first fashion festival called You Wear it Well in the Arts Santa Monica  on la Rambla in Barcelona sponsored by B-Guided magazine. I think it was 2006 and later I did ASVOFF in Santiago de Compostela. I do like Spain a lot. Alex Murray-Leslie (Chicks on Speed) and I have been talking about working together on ASVOFF Barcelona for about a year. ASVOFF will be customized for Barcelona with a new jury, two new competitions one for students with a one word brief AMUSE for a 1 minute film, deadline January 1st and a one minute mobile phone competition. You can visit www.asvoff.es for more information on the Barcelona edition.

What other cities do you have in your radar?
I just came back from an ASVOFF screening in Tokyo, we are currently planning ASVOFF in Miami Basel, followed by Barcelona and then we plan to go to Cannes again in May and in between maybe NYC and next year back to Australia. I’m not sure where else at the moment. Probably Milan again.

What events can we expect to attend in Barcelona?
New jury, new competitions , some Spanish archival fashion films, concerts, special appearances….work in progress at the moment.

How important is it to promote young fashion designers?
I like to promote young talent be it fashion, film, art or music. I think it is very important as that is the future.Young designers need a platform , they do not have the means to advertise and they deserve to be seen.

Do you feel there’s not enough visibility in the press or online given to young fashion designers?
Blogs and online websites and e-commerce and festivals do provide plenty of opportunity for designers to be seen.

Who do you think we should most watch as designers of the future?
At the moment I think Jean Paul Lespagnard is a good one to watch. I’ve been watching his work for about  4 years now ever since he was participating at the festival d’Hyeres. Aganovich is also making a name for themselves. MaMe in Tokyo is an interesting brand.

Same question for fashion film directors or photographers?
I really like the work of Elisha Smith-Leverock, Alex Prager, Lernet + Sander, Justin Anderson, Suzie Q + Leo Siboni, David Bedoni, Jason Last + Jaime Rubiano, I could continue but maybe should stop there.

What are your contemporary art tastes like?
I like Theo Mercier, Takahiro Kimura, Gregory Crewson, The Quay Brothers, Marc Quinn, Anish Kapoor and Yayoi Kusama.

Have you seen any recent striking exhibition?
Yes October 10th the Yayoi Kusama exhibition opened at Centre Pompidou.

What are your next projects? Directing a film yourself? 
Like I said working on ASVOFF Miami Basel and ASVOFF Barcelona also trying to raise money for the Save the Koala fund by doing an event in London probably with the new Le Baron, just in the planning stage at the moment but the Koala bear situation is very dramatic. If something is not done soon they will be extinct. I like to direct low fi documentaries, for the moment only very short ones my dream is to one day assemble a series of short films and make it into one long film which will be a patchwork of the people that I find inspiring, interesting or entertaining.

To finish with, what do you think about this blog and what would you wish it?
I think it looks great, clean and interesting texts.


Thanks Diane !