Images Chloe Newman
End of Genesis is a techno-surreal collection that examines society’s troubling relationship with artificiality, positing an alternate universe parallel to our own where traces of the natural and familiar are tangled with artificiality, the unstable and unreadable. The synthetic merges into the organic, and humans melt into robots in Chloe Newman’s gravity suspended world.
The extraterrestrial series is a product of a hybrid relationship between the enticing and the disconcerting. By luring the audience into a false sense of safety within the seductive exterior—to enforce a sense of unease or a disturbed eroticism. Chloe believes that the further technology and science progresses, the more familiarities such as the body can be augmented and altered, therefore the more abstract our experience of the world becomes.
When I first started taking photos I was basically attempting to replicate photographers work that I loved when I was first introduced to photography, so the likes of David La Chapelle, Man Ray etc but as I started to discover different types and sources of inspiration, I began to understand and develop my own interests further. Probably sounds a bit silly but I think a lot of people first do that when you’re trying to figure out what you like to photograph. Along the way I think my photography has changed, I used to shoot a lot of black and white film and was heavily influenced by the likes of Francesca Woodman and experimental directors like Maya Deren. Whilst I still love those styles, my work has entered into a more digital commercial and cinematic realm of very vivid colour, I love the colour palette in Dario Argento’s Suspiria right now and 80s kitsch. All in all I’d say my style is still progressing as I become influenced by different things but they’ll always be certain traits that will stick with it.
I wanted the title to be something that didn’t quite make logical sense, so the title ultimately means the end of the beginning which is the idea that was central to the work as in dealing with the current situation we find ourselves in now. The prospect of advancing science and technology is exciting yet could simultaneously be our downfall. The title was a summary of society’s troubling relationship with artificiality and the future.
For this series I honestly did not have a clear cut idea of how it would end up but that’s something I always like to have when shooting—the freedom to experiment a bit. I did have vague images in my head such as the purple plant image and the two headed cat, but others were just created from that freedom to play around.
There wasn’t any major difficulties in producing End of Genesis, although I was slightly apprehensive about the two headed cat image, I thought trying to find a cat that would be happy to sit there with a flash going off without scratching me to death would be difficult to find, but T.J (the cat) was pretty cool with it.
Good question! I love this sudden surge of films like Under the Skin, Lucy and Her that have come out with their observations and predictions of how the future aspects of the synthetic will have an impact on human reality. I think with the way relationships humans have with their piece of technology is going, I wouldn’t be surprised if we ended up dating operating systems like in Her. I think in 100 years’ time, cloning and genetic modification will have gone completely crazy so humans will be able to completely alter how they look themselves. People can walk around with purple metallic skin if they want or buy a pet with two or ten heads whenever, wherever.
Photography Lucie Rox Model Matt Dyer (FM London) Location London, England
Seeing my family and seeing them smile.
‘Hope There’s Someone’ by Antony and the Johnsons with a symphony orchestra.
Beer bloats, wines too expensive I like vodka or whisky.
In the city when I’m walking down the street, I always wish I could get a glance at what had happened there 500 years ago. I wish that with my steps I could see all the different times at once, all the other times that had transpired in that same space.
“Nobody’s perfect, so just be yourself.”
Images Laura Stevens
Following the ending of a significant relationship in Laura Steven’s life, an undoing began. Whilst adjusting to being a single woman, the English photographer started to create a photographic narrative based on the experience of losing love; directing other women to portray the gradual emotional and circumstantial stages, along the well-trodden track of the broken-hearted.
By constructing images of the evolving chapters, Laura was allowed a vantage point from which to view the changes occurring in her, from feelings of pain, confusion and loneliness towards the reconstruction of her identity as an individual.
The series of staged performances by different women, of whom are friends or those she had been drawn to from the street, are enacted to show an intimate moment of adjustment. They are seen isolated, surrounded by textures, colour and empty spaces in a room of their home in Paris.
Another November is situated in a deliberately nostalgic present where memories are constructed and irrevocably discolour, looking back to a past not yet acquainted with loss. Yet, it is a reminder that time, the arranger of all things, moves only in one direction.
Photography Ian Tillotson Art Direction & Styling Alex Mein & Mirja Rosendahl Grooming Maria Papadopoulou Model Tommy Fitzer (ELITE London) Footwear CAMPER
A collection of American classics reconsidered for both men and women, Mirja Rosendahl‘s S/S 15 collections pays homage to the heavy metal and punk bands of the 1970’s. From Ozzy Osbourne, Black Sabbath, The Ramones, The Clash to Robert Schlesinger’s 1969 film following the exploits of New York hustlers, Midnight Cowboy.
Mirja Rosendahl is stocked at Diverse in London and online at Farfetch.com.
Images Julianne Nash
“As my grandparents sit in their respective chairs, a soft golden light fills the living room through large bay windows. I know this light. It’s the same warm light that has fallen upon me for years as I spend time alongside them. Recently, my grandmother has slowly begun to lose her vision. The more she struggles to see, the more often I find her staring off towards the light, eyes tightly closed, seemingly lost within her own world. Such moments have brought me to ponder the fragility of her life and waning vision. This new and painful reality has led me to record the moments I hold dear; to preserve their lives, in a way that only a photograph can.”
“I have begun to create images that document the changes I see throughout their home. It has become a space that is now reshaping itself in order to contend with my grandmother’s sightless condition. I’m also making photographs that speak to the abundant love between us: images of us simply being together. As my grandmother’s eyesight begins to degrade more rapidly, I have become increasingly invested in her troubles. She describes having dryness in her eyes, and dark disorienting spots floating in the center of her field of vision. As her grand daughter, as well as a visual artist, the thought of this is traumatizing.”
“Many of the photographs exist purely as a documentation of her changes; I’m chronicling my grandparents and their home, from the perspective of that of a caregiver. In others I’m attempting to create images that depict what my grandmother might be going through and what her surroundings now looks like. I have begun to physically degrade my negatives in order to understand and experience her nebulous world. This is both an immensely personal project where I pay homage to my grandmother’s condition, and one in which I also hope to remind the viewer just how fragile we all are, and to appreciate the physical world while we can.”
Text Callum Riley
We Are Shining –
We Are Shining –Hot Love
Spacey gospel blues duo, We Are Shining, have released the video for Hot Love, directed by Simon Cahn. The two have somehow managed to stuff their band set-up into a tiny off licence and give it their all whilst British model Adwoa Aboah, struts in the middle of the street wearing a trenchcoat and bandana. The camera layering and Aboah’s “dancing” all sets the tone for a “carefree” vibe, but more often than not, she looks more than a little distressed. It is the perfect moody video to accompany the song, with it’s jagged synths, gospel vocals and lazy drums.
Rustie – Attak (Feat. Danny Brown)
Although Scottish producer Rustie & Detroit’s finest, Danny Brown, have collaborated before, it has never been anything like this. Directed by Peter Marsden, the video for Attak is disorienting, unrelenting and just outright trippy. Clearly the pair decided that the regular lyric video that usually accompanies a new song was simply not enough, instead opting to feature Brown rapping with the lyrics weaving their way around him, twisting around themselves and changing colours. It makes it almost impossible to discern what is being said. Lucky for us, it does not matter as it remains visually and aurally pleasing anyway.
The Weeknd –
The Weeknd –Often
After Abel Tesfaye made his return to music as The Weeknd in June with Often, we have been treated to the music video. Unsurprisingly he has somehow managed to sing lines such as “I can make that pussy rain”, but make it look and sound as smooth as you would like. Set in a dimly lit hotel that looks to have been ripped straight out of Lost In Translation, it features Abel surrounded by various attractive women. With anyone else, the described setting would seem potentially creepy and weird. Fortunately, Tesfaye’s sombre tone and soft crooning offsets that.
Action Bronson – Easy Rider
As the name suggests, this video is one big homage to Easy Rider, the 1969 Peter Fonda film of the same name. Produced by fellow Fool’s Gold Records labelmates Party Supplies, the accompanying video features our hero travelling the desert on his Harley Davidson after leaving hospital, and his various drug fuelled shenanigans that follow. The highlight of the video is definitely watching Bronson fight off 20 something bikers in a bar whilst tripping on acid that he obtained from a random woman he slept with earlier in the video. Oh, and then he goes and gets a guitar from a church (after being given the key by a Native American guy on a horse, obviously) and plays it on top of a cliff for a while. Seriously, Sons of Anarchy has nothing on this!
HAIM – My Song 5 (Remix Feat. A$AP Ferg)
The video for Haim and A$AP Ferg’s My Song 5 remix is a veritable game of “Guess Who.” Packed with cameos from fellow celebrities, the Haim sisters themselves and Ferg. It is absolutely hilarious and more than a little unsettling in places. The video revolves around a Jerry Springer-esque show from the 90s hosted by Saturday Night Live’s Vanessa Bayer, featuring fellow songstress Kesha being in love with her cat Mr Boots, Artemis Pebdani being absolutely terrified of cotton balls and Este Haim sexually excited by mimes. Ferg’s verse features him parodying the habit of many talk show guests to steal the mic at various points to shout at their other half, giving his girlfriend grief for having a girlfriend on the side. Watch out for Big Sean, Tone and Vampire Weekend’s Ezra Koenig in the crowd cheering and booing as needed, as well as Grimes eating food with Danielle Haim whilst wearing a cape in the cafeteria. This is definitely one of the strangest videos released in a long time yet so endearing you will want to watch it over and over again.
Interpol – Ancient Ways
Interpol has proved there is life in them with the new single released ahead of El Pintor’s release on September 9th. Ancient Ways is a ferocious attack by Daniel Kessler’s guitars and Sam Foginaro’s drumming, leaving Paul Banks’ vocals slightly in the background. This does nothing to detract from the song however, leaving a very satisfying prelude to a 5th album that has been promised to showcase a “reinvigorated” band.
Kele – Doubt
With the release of the first single from his upcoming solo album Trick, Bloc Party frontman Kele Okereke has returned to dance music once again. Having lent his vocals to artists like The Chemical Brothers, Martin Solveig & Sub Focus, as well as Bloc Party’s third album Intimacy—leaning far more to the electronic end of their musical range—Kele is no stranger to electro. On Doubt, Kele has adopted a UK Garage style, very much in line with Disclosure and their fellows who are currently dominating the world’s airwaves. It is a stripped back, atmospheric track that showcases Okereke’s vocal abilities, and hopefully now, his solo career can finally receive the appreciation it deserves.
Phoenix – Bankrupt! (Gesaffelstein Remix)
To celebrate the release of their 5th studio album Bankrupt!, French rockers Phoenix have released a plethora of remixes over the last year, ranging from DJ’s like A-Trak to alternative rock outfit Dinosaur Jr., and now techno’s man of the hour Gesaffelstein has been let loose on what is apparently the last remix to come from the album. Gesaffelstein has taken the titular track and flipped it on its head, retaining the sombre piano chords and vocals from the latter of the track and infusing it with his signature menacing synths and more sinister atmosphere than a Phantom of The Opera performance. Thomas Mars’ floating vocals blend with Gesaffelstein’s sparse production, leaving us with a haunting remix that outshines the original.
Wu Tang Clan –
Wu Tang Clan –Ron O’Neal
After 7 years, we’re finally getting another Wu Tang Clan album, and we’re off to one hell of start. Named for the actor and director famed for portraying Youngblood Priest in Blaxploitation film Super Fly, this is the clan at its best. Horn heavy and with a bouncy drum beat, and even featuring Ghostface Killah talking about everything from Spongebob to bulletproof pajamas to snorting cocaine through a crazy straw, it is everything one would hope for, and hopefully the rest of A Better Tomorrow will follow suit. Watch out for RZA’s verse as well, he blows everyone else out of the water.
Run The Jewels – Blockbuster Night Part 1
Run The Jewels, the best team up in rap since Kanye and Jay Z spent 46 minutes shaking their matching “Best friends for life” bracelets at us on Watch The Throne, has returned to dominate the hip hop scene. El-P & Killer Mike pull no punches with their grand return on Blockbuster Night Part 1, showcasing their collective love of alliteration and themselves, saying other rappers are “doodoo, baby shit, just basic boo boo”. Just like on their critically acclaimed debut, El-P’s production threatens to impress more than the rapping itself, a thumping, distorted trip.
Images Pierre Folk
Across modern day Europe, the vestiges of the Industrial Revolution remain to be seen, heard and felt. With the burgeoning population in the 18th century, new technologies were developed to produce more at a faster rate and lower costs. The wave of radical changes culminated in the development of railways giving a much needed boost to the economy.
One of the greatest and largely unknown remnants of the Industrial Revolution lies in Paris. A 32km path surrounding the city, la Petite Ceinture is a derelict railroad track. Since the access to the tracks have been closed, Parisians and visitors are unable to visit its trenches. The rails cross the entire city in anonymity, belonging to a forgotten past.
Yet, la Petite Ceinture had its time of glory. In early 19th century France, the various Parisian railway networks were not connected, and transfers were horse-drawn; as at the time, the City of Light did not have large boulevards. The project became a necessity to facilitate the circulation of both goods and people. Its construction, seen as an invitation to progress, started in 1852. Traffic was already considerable during the very first years, and reached its apogee with the Universal Exhibition featuring the Eiffel Tower in 1901. However, its operation would not survive the automobile revolution, nor the advent of the underground system. As a result, la Petite Ceinture has produced nothing but silence from the 1930s onwards. Oddly enough, it has not gone to wreck and ruin.By The Silent Line, was produced by Parisian photographer Pierre Folk in large format photography using a 4×5 camera, from 2011 to 2014. “As a photographer, I have always been interested in the relation between society and its physical environment, thus I’m always looking for subjects to fit such interactions. I came across the line quite randomly in 2010 when walking with a friend in southern Paris where the line is elevated. When I started to document the line, I realised that it was suitable with my subject of interest and decided to produce By the Silent Line. This project is mostly about the notion of temporality and the way our society deals with its industrial and technological revolutions. It depicts our tendency to move on to something else in a heartbeat, regardless of the concept of waste. Not waste in the sense of throwing away, but in the sense of being idle. It is there, only with no real purpose. Indeed, I’d like to insist on the fact that the line isn’t abandoned, it’s just mostly unused,” Pierre explains.
“That’s what my work is all about: a place that is maintained in condition (with associated costs) for an uncertain future use that is yet to be decided. Of course, some parts are more damaged than others with the passing of time but overall it is maintained in its state. Potentially, it could be re-used for train circulation with just a bit of rehabilitation work. Indeed, a particular section was used for testing the new automatic underground system designed for line 14,” he continues. The 28 year old maintains that, “The tracks have become a boundary, almost on the fringe of society. An intimate place where the past and present make their acquaintance. At last, la Petite Ceinture is likely to be reclaimed by modern society. A handful of recent projects have the partial conversion of the tracks public transportation or linear parks, just like la promenade plantée de Bastille in 1988, which partly inspired New York’s High Line redesign. It is time for a farewell. This series, started in 2011, is a way of maintaining the memory of a landmark and its rebirth. Somehow, these are photographs that can never be taken again.”