spleen magazine 02

Spln .02.032 p. 134—142 Spln .02.025 p.54—65

Spln .02.023 p.32—43 Spln .02.021 p.08—19

Spleen is a fashion and visual arts magazine that offers to share the inner side of the artist, its deepest and most

personal visions. Through those introspective and intimate looks

that translate the images in artistic scenarios and contrasting

aesthetic forms.

A space, open to the world, for creative contemporary avant–garde minds desiring to express themselves through heterogeneous forms of communication.

Spleen is your aesthete best friend.

01

Spleen is a challenging annual publication that catalogs the authors of the new wave, with focus on photography and fashion.Based in Italy but internationally open, is edited by Martina Giammaria and Francesco Artibani.

Spleen MAGAzIneYour Aesthete Best FriendIssue n°02 Fall—Winter 2013⁄14www.spleenmagazine.com

Fashion editor: Francesco Artibani francesco.spleenmag@gmail.comphoto editor: Martina Giammaria martina.spleenmag@gmail.com

Contributors: Teresa Cos, Harold Diaz, Martina Giammaria, emiliano Granado, petra Herbert, André Herrero, Irène (Geneviève eliard and esthèle Girardet), Rob Kulisek, Mathieu Missiaen, Alice Moitie, Benjamin Schmuck, lonneke Van der palen.

Graphic Design: Alberto MoreuTWO Think Work ObserveTypeface: Gin Sans, © TWO Think Work Observe 2013 (t-wo.it)Trump Medieval, © Georg Trump (C.e. Weber 1954–1960)

Credits:on the cover of issue 02lonneke Van der palenTombouctou 52 joursp.54—65

All rights reserved.no part of this publication maybe used or reproduced in any manner without written permission from the publisher. All artworks are exclusive property of the owners.

© Spleen Magazine, 2014

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CATAlOGue

p.20—31

p.08—19

03

p.32—43

p.44—53

catalogue 04

F—Wp.66—77p.54—65

p.78—95

p.98—103

05

2013⁄14

p.134—142

p. 1 12—125p. 104—111

p. 126—133

Spleen MagazineYour aesthete Best Friendissue n°02 Fall—Winter 2013 ⁄ 14

index

i

Forewords 01 colophon 02catalogue 03 05

ii

authors 08 142

iii

Statements 96 97

contacts 143

authors

ii

alice Moitie 08 19andré Herrero 20 31Benjamin Schmuck 32 43irène 44 53lonneke Van der palen 54 65Martina giammaria 66 77Harold Diaz 78 95Rob Kulisek 98 103petra Herbert 104 111teresa cos 112 125emiliano granado 126 133Mathieu Missiaen 134 142

contentS 06

F—W 2013 ⁄ 14 issue n°02

Your aesthete Best Friend

07

Spleen Magazinecode: Spln.02.021

alice Moitie

Des hommes qui s’aiment

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 08

alice Moitie 10

11

alice Moitie 12

13

alice Moitie 14

15

alice Moitie 16

17

Spleen MagazineCode: Spln.02.022

André Herrero

eckhaus

Issue 02Fall—Winter 2013⁄14

autHoRS 20

21

anDRÉ HeRReRo 22

23

anDRÉ HeRReRo 24

25

anDRÉ HeRReRo 26

27

anDRÉ HeRReRo 28

29

Spleen Magazinecode: Spln.02.023

Benjamin Schmuck

Ravitaillé par les corbeaux

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 32

BenjaMin ScHMucK 34

35

BenjaMin ScHMucK 36

37

BenjaMin ScHMucK 38

39

BenjaMin ScHMucK 40

BenjaMin ScHMucK 42

43

Spleen MagazineCode: Spln.02.024

IRÈne, erotic FanzineGeneviève eliard

and esthèle Girardet

There is an othernessinside us we never touch

models lucie and nami

Issue 02Fall—Winter 2013⁄14

autHoRS 44

IRÈNE 46

47

iRÈne 48

49

iRÈne 50

51

iRÈne 52

53

Spleen Magazinecode: Spln.02.025

lonneke Van der palen

tombouctou 52 jours

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 54

lonneKe Van DeR palen 56

57

lonneKe Van DeR palen 58

59

lonneKe Van DeR palen 60

61

lonneKe Van DeR palen 62

63

lonneKe Van DeR palen 64

65

Spleen Magazinecode: Spln.02.026

Martina giammaria

styling Francesco artibani hair&make up Vicky Fusco

dancers Raffaellatresor and Marjorie lenain

Hold on

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 66

MaRtina giaMMaRia 68

69

MaRtina giaMMaRia 70

MaRtina giaMMaRia 72

73

MaRtina giaMMaRia 74

75

cReDitS

p. 01 american apparel swimsuit — p. 01 american apparel swimsuit — p. 01 Reebok top, skirt from a chinese market — p. 01 comeforbreakfast shorts, Reebok crop top — p. 01 standing: comeforbreakfast long shirt, adidas leggings; lying down: Reebok jumpsuit, Vincent Billeci skirt, adidas shoes — p. 01 standing: Vincent Billeci skirt, Reebok jumpsuit, adidas shoes; lying down: adidas leggings — p. 01 Reebok crop top, luigi Borbone jeans — p. 01 american apparel swimsuit — p. 01 comeforbreakfast long shirt, Vincent Billeci skirt — p. 01 Reebok crop top

Spleen Magazinecode: Spln.02.027

Harold Diaz

phone photos

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 78

79

HaRolD Diaz 80

81

HaRolD Diaz 82

83

HaRolD Diaz 84

85

HaRolD Diaz 86

87

HaRolD Diaz 88

89

HaRolD Diaz 90

91

HaRolD Diaz 92

HaRolD Diaz 94

95

Francis BaconThe logic of sensation

gilles Deleuze

it is a mistake to think that the painter works on a white surface. the figurative belief follows from this mistake. if the painter were before a white surface, he – or she – could reproduce on it an external object functioning as a model. But such is not the case. the painter has many things in his head, or around him, or in his studio. now everything he has in his head or around him is already in the canvas, more or less virtually, more or less actually, before he begins his work. they are all present in the canvas as so many images, actual or virtual, so that the painter does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it. He does not paint in order to reproduce on the canvas an object functioning as model; he paints on images that are already there, in order to produce a canvas whose functioning will reverse the relations between model and copy. in short, what we have to define are all these “givens” [données] that are on the canvas before the painter’s work begins, and determine, among these givens, which are an obstacle, which are a help, or even the effects of a preparatory work.

c’est une erreur de croire que le peintre est devant une surface blanche. la croyance figurative découle de cette erreur : en effet si le peintre est devant une surface blanche, il pourrait y reproduire un objet extérieur fonctionnant comme modèle. Mais il n’en est pas ainsi. le peintre a beaucoup de choses dans la tête, ou autour de lui, ou dans l’atelier. or, tout ce qu’il a dans la tête, ou autour de lui est déjà dans la toile, plus ou moins virtuellement, plus ou moins actuellement avant qu’il ne commence son travail. tout cela est présent sur la toile, a titre d’images, actuelles ou virtuelles. Si bien que le peintre n’a pas à remplir une surface blanche, il aurait plutôt à vider, désencombrer, nettoyer. il ne peint donc pas pour reproduire sur la toile, un objet fonctionnant comme un modèle, il peint sur des images déjà là, pour produire une toile dont le fonctionnement va renverser les rapports du modèle et de la copie. Bref ce qu’il faut définir, ce sont toutes ces « données » qui sont sur la toile avant que le travail du peintre commence. et parmi ces données, lesquelles sont un obstacle, lesquelles une aide, ou même les effets d’un travail préparatoire.

StateMentS 96

Fuck Committeestibor Kalman

i believe in lunatics

it’s about the struggle between individuals with jagged passion in their work and today’s faceless corporate committees, which claim to understand the needs of the mass audience, and are removing the idiosyncrasies, polishing the jags, creating a thought-free, passion-free, cultural mush that will not be hated nor loved by anyone. By now, virtually all media, architecture, product and graphic design have been freed from ideas, individual passion, and have been relegated to a role of corporate servitude, carrying out corporate strategies and increasing stock prices. creative people are now working for the bottom line.

Magazine editors have lost their editorial independence, and work for committees of publishers (who work for committees of advertisers). tV scripts are vetted by producers, advertisers, lawyers, research specialists, layers and layers of paid executives who determine whether the scripts are dumb enough to amuse what they call the ‘lowest common denominator’. Film studios out films in front of focus groups to determine whether an ending will please target audiences. all cars look the same. architectural decisions are made by accountants. ads are stupid. theater is dead.

corporations have become the sole arbiters of cultural ideas and taste in america. our culture is corporate culture. culture used to be the opposite of commerce, not a fast track to ‘content’- derived riches. not so long ago captains of industry (no angels in the way they acquired wealth) thought that part of their responsibility was to use their millions to support culture. carnegie built libraries, Rockefeller built art museums, Ford created his global foundation. What do we now get from our billionaires? gates? or eisner? or Redstone? Sales pitches. junk mail. Meanwhile, creative people have their work reduced to ‘content’ or ‘intellectual property’. Magazines and films become ‘delivery systems’ for product messages.

But to be fair, the above is only 99 percent true.i offer a modest solution: Find the cracks in the wall. there are a very few

lunatic entrepreneurs who will understand that culture and design are not about fatter wallets, but about creating a future. they will understand that wealth is means, not an end. under other circumstances they may have turned out to be like you, creative lunatics. Believe me, they’re there and when you find them, treat them well and use their money to change the world.

New York, june 1998

97

Spleen MagazineCode: Spln.02.028

Rob Kulisek

Reminiscence

Issue 02Fall—Winter 2013 ⁄ 14

authoRS 98

RoB KuliSeK 100

101

RoB KuliSeK 102

103

petRa HeRBeRt 104

Spleen Magazinecode: Spln.02.029

petra Herbert

What we’ve gotis gold

issue 02Fall—Winter 2013 ⁄ 14

105

petRa HeRBeRt 106

107

petRa HeRBeRt 108

109

petRa HeRBeRt 110

111

Spleen MagazineCode: Spln.02.030

Teresa Cos

They came and they left and everything was the same

(2013) commissioned by Stella McCartney

Issue 02Fall—Winter 2013⁄14

autHoRS 112

teReSa coS 114

115

teReSa coS 116

117

teReSa coS 118

119

teReSa coS 120

121

teReSa coS 122

123

125

Spleen Magazinecode: Spln.02.031

emiliano granadothank god that’s over

issue 02Fall—Winter 2013 ⁄ 14

autHoRS 126

eMiliano gRanaDo 128

129

eMiliano gRanaDo 130

131

eMiliano gRanaDo 132

133

Spleen MagazineCode: Spln.02.032

Mathieu Missiaen

styling Morgane nicola,make up Juan Romero

models Clara, zoé, leopold, lila,Flora, Romain, Angie, Félicia

untitled

Thanks to upper east Studio, Julien Morinand Chloé Bonni More

Issue 02Fall—Winter 2013⁄14

autHoRS 134

MatHieu MiSSiaen 136

137

139

MatHieu MiSSiaen 140

141

We accept fashion stories and photographic essays. Works should be cohesive projects — personal, intimate, conceptual, experimental, fashion oriented — sent along with a brief presentation text and credits.

Send low–res jpegs with a link to your personal website to: info.spleenmag@gmail.com

Spleen MagazineYour aesthete Best FriendIssue n°02 Fall—Winter 2013⁄14

Contributors: teresa cos, Harold Diaz, Martina giammaria, emiliano granado, petra Herbert, andré Herrero, irène (geneviève eliard and esthèle girardet), Rob Kulisek, Mathieu Missiaen, alice Moitie, Benjamin Schmuck, lonneke Van der palen. For submissions and advertising: info.spleenmag@gmail.com

www.spleenmagazine.com