Rose Revival & Other Stories

The second part to the dreamy short film series by new fashion brand, & Other Stories shows the story of the creation of their upcoming fragrance “Rose Revival”. 

Combining rough imagery with the silky softness of a woman’s skin, this short story is a celebration for the fascination of fragrance.

& Other Stories will be launched online and in stores during spring 2013.


WeSC Baby Maker

WeSC is a street fashion brand for intellectual slackers that doesn’t merely stand for a brand in the fashion industry, but rather a company within the skateboard culture. WeSC creates clothing with roots in a subculture that sets its own rules and follows its own trends, and its founders are all avid skateboarders and snowboarders. However, not only addressing one audience, WeSC also delivers “life after skate”, a more developed style that also targets people outside the skateboard community, while still sharing its values. Like this jacket for example, the WeSC Baby Maker. Priced at 350 Euros in stores, you can win one here by sending a mail to

Vienna, City of Art

Performances during VIENNA ART WEEK's exhibition „Predicting Memories“, 20.11.2012, Ehemaliges K. K. Telegrafenamt. Photo ©Florian Rainer

Timed just after the international take-off of the art season and before the winter cold hits the city, Vienna Art Week has established itself as one of the most noteworthy art weeks in Europe. With its eighth edition closing last Sunday, VAW delivered a programme full of openings in the city’s numerous art institutions, as well as studio visits, lectures, a film programme and guided tours, which continued smoothly into Vienna’s Gallery Weekend. Indeed, besides the plethora of exhibitions and openings, maybe the most strikingly refreshing characteristic of the VAW is the fact that everyone involved understands the importance of collaborating.

“The idea was to get all major art institutions to work together, including the art academy and the artist-run spaces, as well as the smaller museums, private museums and galleries as well” says Martin Böhm, President of Art Cluster Vienna, who initiated the Vienna Art Week almost a decade ago. “Vienna is an important city for fine art, and art is central to the city – historically and in the present. It is of course important that an international audience sees that, but also that the Viennese themselves realise the crucial role art plays for the city. For one week, art gets centre stage.”

Patricia Reinhart EIN NACHTSTÜCK, 3 Paris/Vienna 2011/2012 Channel Filminstallation, loop. Courtesy the Artist

Robert Punkenhofer, Art Cluster’s Artistic director, curated the thematic show “Predicting Memories”. Installed in the former Telegraph Office, the group show includes works by artists like Sophie Calle, Ai Weiwei, Hans Op de Beeck and younger art world figures like Doug Fishbone. The imposing edifice itself, left untouched for decades, is haunted and crumbling, a stark contrast to Vienna’s otherwise tarted-up imperial buildings. The show explored the complex net of relations between the present and our understanding and processing of history, and raised questions about its effect on the future. A video installation by Doug Fishbone showed, for example, how visual stimulus is shaped by the media and interpreted according to social conditioning.

All around the city, major institutions joined with openings by renowned artists, like Kerry James Marshall at Secession. His show, “Who’s Afraid of Red, Black and Green”, fills the museum’s main hall with a new series of works, in which Marshall focuses on the social and cultural experience of African Americans using two key references: the flag of the Universal Negro Improvement Association, founded in 1920, and Barnett Newman’s famous painting Who’s Afraid of Red, Yellow and Blue.

Kerry James Marshall, School of Beauty School of Culture, 2012.Photo ©Kerry James Marshall

Other shows not to be missed – and the list is long – are Michael Borremans “Magnetics” at BAWAG Contemporary, and “Sharon Lockhart | No Eshkol” at TBA21. Photographer Sharon Lockhart, whose practice often involves the memorisation of specific moments in particular communities, presented a new work dedicated to the life and school of Israeli choreographer and textile artist Noa Eshkol. Lockhart discovered Eshkol, who died in 2007, during a trip to Israel in 2008, and the show, conceived as collaboration between the two, is a sensitive portrait of an important artist. Together with architect Avram Wachman, Eshkol is best known for developing a movement notation system in the 1950s. The system is used to this day to record and analyse movement in fields as various as dance, therapy and even the diagnosis of autism. The show “Sharon Lockhart | Noa Eshkol” includes a five-channel film installation showing Eshkol’s ageing students dancing to a metronome from a rigidly scripted system, sharing the space with Eshkol’s ornate textiles and images of the spheres used to analyse movement.

„Sharon Lockhart | Noa Eshkol" Thyssen-Bornemisza Art Contemporary – Augarten. Photo ©Florian Rainer

Belgian painter Michael Borremans paintings reflect mysterious, even puzzling situations that exude a sense of danger and morbidity. Human figures are painted in a pensive pose or semi-conscious state right in the middle of the composition. While their faces are largely obscured, the atmosphere is psychologically charged. The figures are captured in various stages of reverie so total as to negate the presence of the viewer. „Art has to be political, it has to be mysterious, and it has to be sensual“ Borremans told sleek. „I know a painting is finished when it creates a certain effect.“

The eighth edition of the Vienna Art Week may have ended, but many of the shows are still on view, and a visit is more than worth your while. We would not want to miss the ninth edition next year.


Jeremy Scott gets Smart

Designer Jeremy Scott and the smart fortwo electric drive has produced a winsome new smart fortwo model. The unique smart forjeremy has wings – a familiar trademark of the American star designer. The wings light up like igniting rockets to form playful and, not to mention, very cool rear lights. The smart forjeremy showcar, which will be launched next year as a limited special edition, was unveiled on the eve of the LA Auto Show at Jim Henson Studios in Los Angeles, with music provided by the artist M.I.A..

“We were totally enthusiastic about the first sketches that Jeremy presented to us”, said Dr. Annette Winkler, Head of smart, during the world premiere. “In their respective disciplines, both the fashion designer Jeremy Scott and the smart brand are pioneering trendsetters, venturing into uncharted territories and challenging the status quo.” The cooperation itself was out of the ordinary, smart being the first car brand to permit a fashion designer to make changes to the vehicle’s body. As Head of Mercedes-Benz and smart design Gorden Wagener explains: “This was quite a challenge, because it was not just a case of creating a showcar, but rather of creating a near-series study with the potential for licensing it for road use in the future.”

But what is it with Scott and his wings? “For me, wings mean freedom, a sense of weightlessness. Because of this, I definitely wanted to have them for the smart electric drive in order to convey the way it frees the environment of noxious emissions and symbolises the new lightness of mobility”, said Scott. The smart forjeremy is based on the current production version of the smart fortwo electric drive. With its 55 kW electric motor the smart fortwo electric drive accelerates from 0 – 60 km/h in 4.8 seconds, and with a maximum speed of 125 km/h driving pleasure is also guaranteed on urban motorways. The 17.6 kWh lithium-ion battery enables the urban two-seater to travel approximately 145 kilometres in city traffic without producing any local emissions.

Rosemarie Trockel’s non-retrospective

Rosemarie Trockel, Nobody will Survive 2, 2008 Multimedia 68 x 58 x 4,8 cm © Rosemarie Trockel, VG Bild-Kunst, Bonn 2012. Courtesy Sprüth Magers Berlin London

The exhibition “Flagrant Delight”, curated by Dirk Snauwaert and shown at Lisbon’s Culturgest, offers an insight into the multifaceted work of Rosemarie Trockel – but don’t dare call it a retrospective! In the early 1980s, Trockel proposed an alternative to the rigid formalism and expressive painting that dominated the artistic context at the time. Today, the fundamental principles of her practice still involve the notions of liberty and going beyond the limits of academicism, conventional associations and knowledge of language, as well as avant-garde forms and symbols. And this also extends to negating the notion of a retrospective survey, a withdrawal entirely in keeping with her claim that she has always felt more “interest in internal contradiction and incoherence”.

The idea of an all-encompassing retrospective exhibition is indeed at odds with Trockel’s penchant for “incompleteness”, “opacity” and an open and non-systematic aesthetic language and practice. Her metaphorical and associative working method is the basis for the poetic visual language she herself champions.
The show overlaps with another exhibition of the German artist’s work, at The New Museum, New York. Entitled “Rosemarie Trockel: A Cosmos”, the New York show presents an imaginary universe in which Trockel’s own artwork from the past thirty years is juxtaposed with objects and artefacts from different eras and cultures that map many of her artistic interests.

Trockel’s feminist focus tends towards subverting the idea of the transparent, rational and seamless nature of reality, against which she pits opacity, inefficiency, error, disorder, disorganization, obscurity and complexity – an aspect that both exhibitions highlight. Trockel has organized “Flagrant Delight” according medium: sculptures, collages, ceramics and textiles (wool paintings). However, this seemingly categorical approach becomes a diverse and free inventory of the possibilities and limitations of each medium; indeed, even the faintest hint of categorization is thwarted at every turn.

The exhibitions are a link, a gesture towards the possible development of new relationships. And this too, in a similar vein, is how this retrospective exhibition can and should be interpreted.

“Flagrant Delight” is held in collaboration between WIELS Contemporary Art Centre, Brussels, Culturgest, Lisbon and Museion, Bolzano.
Until 6 January 2013


“Rosemarie Trockel: A Cosmos”
New Museum, New York
Until 20 January 2013

Converse and Missoni converge

The new Missoni for Converse A/W 2012-13 collection is out! The traditional Missoni zigzag patterns now adorn classics like the Auckland Racer and the Chuck Taylor All Star models, as seen at the Missoni runway show in Milan.

The models in this and all other Converse designer collaborations are limited editions, and rate at 200 Euros. This is your chance to win a pair of Missoni Chucks, just write us a mail with your address and size to

Good luck!


Nick Jeffrey

Nick Jeffrey. Photo by ©Maxime Ballesteros for Sleek

Throwing paint around and listening to music in his studio, young British-born Nick Jeffrey is an artist who doesn’t like to keep things too rigid. But his omnifarious approach always leads back to painting, as he explains: “The borders between genres have always, and are increasingly, becoming more blurred… painting has that real immediate nature”. Currently working on the “loose and free” material of semi-transparent polyester, Jeffrey is making what he calls “ambient and open” paintings that appear mellow in their ethereal tranquillity; punctuated colour blocks with indistinct forms, such as those seen in his recent Hannah Barry exhibition, “Youth”.

A hands-on artist whose engagement with process and texture infatuates him more than the cerebral meanderings of many of his generation, he explains that he is now “drifting towards work with an immediacy which hasn’t been overworked and has a simplicity about it… as the old saying goes, less is more.”

Jeffrey originally moved to Berlin just under three years ago, then returned after completing an MA at the Royal College of Art in London. “Berlin seems to be one of the most transitional cities in Europe… it’s a bit like a chameleon, constantly shape-shifting”. Working from a studio in Prenzlauer Berg, his preoccupation with surface and texture makes the dilapidated Berlin-interior-wall effect the perfect surrounding to his practice.

Influenced by Lawrence Weiner’s spray paintings and bleach series in which the artist would go to the houses of collectors or galleries and institutions and pour bleach on the carpet, Jeffrey’s artistic style as well as his character are somewhat anarchic. His exhibitions are often accompanied by a performative element (for a show in Italy he filled the gallery with so much smoke that people thought it was on fire, and Stan from the band Hounds Of Hate played alongside his work at his degree show) which adds to the fresh air of irreverence he offers to a medium repeatedly described as dead by critics and artists.

Text by Susanna Davies-Crook


New. New York at Essl Museum

RYAN FORD Horizontal Stripes Make My Dick Look Fat, 2011. Wood, paint, plastic objects 152 x 91 cm. photo Eli Ping

How important is it for artists to be working out of a specific city? And how much does living in an art-world metropolis influence the kind of art one produces? These questions and more are some of the issues considered in the current exhibition “New. New York” at Essl Museum, which opened in conjunction with the Vienna Art Week.

The show offers insight into the work of 19 young artists based in New York, all at very different stages in their careers, while placing a special focus on the vibrant young art scene hailing from Bushwick, Brooklyn, with the numerous ateliers, culture initiatives and alternative art spaces that dot its landscape. Curator John Silvis mentions the “honesty and directness” of the works on view as a unifying characteristic. They also share, though with various techniques, a certain economy of material, in that many use and re-use found materials and media in an often surprising form, and in doing so produce “something new” in order to develop their own forms of artistic expression.

BRENT DICKINSON Systhematic Theology on Forked River Mountain, 2012. Mixed Media, dimensions variable © the artist, photo by R. Holler-Strobl

Hawaiian-born artist Letha Wilson, for example, mixes photography with metal, wood and concrete in her multi-media explorations of landscape. Brent Everett Dickinson fuses language and theology with found materials to funnel into his sculptural installations psalms, biblical references, and considerations on the representation of complex metaphysical and religious ideas in popular cultural, from nursery rhymes to school education. Sarah Lee, the youngest artist in the show, works with discarded books and old paper as her medium to create site-specific work. It’s probably the cheapest material available to a young artist – a consideration which becomes an integral one to this and many of the other works on view. 

And this could be the most important point of reference when making an attempt to contemplate all the various artists on view in the framework of this show: resourcefulness is a necessity, and it leads to innovativeness, both in terms of technical uses of material as well as in forming an artistic position. And this, the show seems to argue, is a condition informed by the financial struggles artists face in New York.

New. New York
Essl Museum
Until April 1, 2013.

Participating artists:
Jude Broughan, Vince Contarino, Brent Everett Dickinson, Rob Fischer, Ryan Ford, Egan Frantz, Rico Gatson, Robin Kang, Steven and William Ladd, Sarah Lee, Christopher McDonald, Ann Pibal, Lisa Sigal, Shelly Silver, Reid Strelow, Siebren Versteeg, Letha Wilson, Tamara Zahaykevich



A Bag for all Sessùn

French label Sessùn has created the perfect 24/7 handbag to satisfy your every need – in the city and on the road. With its smart design, colourful embroidery and fine leather details, this bag is a perfect companion for a day at the beach or a night in the club. And while the beach seems very far away right now, this bag mixes dark blues and winter colours with a hint of sunshine and anticipation of the next spring. This all-purpose piece rates at 219 Euros at stores, or you could get it here with an email to


Shoes & Other Stories

In celebration of the launch of new fashion brand, & Other Stories, high fashion photographers Alexander Dahl and Patricia Reyes teamed up with art director Carl-Axel Wahlström, to create a short film showcasing some of the looks we can expect to see in their inaugural SS13 collection. 

This short film offers a glimpse into the life of a Parisian girl, floating around the city, giving us a sneak peak of the new collection and at the same time sharing a love for shoes.

Ateliers in both Paris and Stockholm, & Other Stories pride theirselves on merging diversified fashion ideas at an affordable price, with the highest level of attention to detail applied. 

& Other Stories will be launched online and in stores during spring 2013.



The Little Black Jacket hits Berlin

Photo by Delphine Achard. © CHANEL

It was surely one the most glamourous things Berlin has seen for a while when, on November 20, Karl Lagerfeld, Carine Roitfeld and a team of fashion figures from the extended Chanel family arrived in Berlin to celebrate the installation of the Little Black Jacket exhibition of 113 photographs made by the ultra-chic Parisian duo for the book of the same name. No event hosted by Chanel would ever be less than 100 per cent chic, and this wasn’t an exception: the renovated former U-Bahnhof space beneath Potsdamer Platz had been turned into a gallery, where the exhibition will show until December 14, and guests were taken by surprise some time into the night as a curtain was swept back to reveal an entire adjoining nightclub. Around 10pm, Mr Lagerfeld himself swept into the room in a firestorm of flashbulbs, took a seat overlooking the dancefloor and enigmatically watched the party turn into a riot of fabulous fashion fun. Guests included the like of Alice Dellal, Laetitia Casta, Elisa Sednaoui, Ana Girardot and many others.

See for yourself what the excitement is all about by visiting the exhibition.

The Little Black Jacket
U3 Bahnhof & Tunnel
Potsdamer Platz 1 (Entry on Leipziger Platz)
Until December 14th 2012 

Kris Martin: every day of the weak

Kris Martin Idiot II (2006) Goldmünze, 21 Karat, ø 3,5 cm. Photo by Achim Kukulies © Sies + Höke, Düsseldorf

With „Every Day of the Weak“ the kestnergesellschaft presents the first comprehensive solo exhibition in Europe by the Belgian artist Kris Martin. The show – a cooperation with the Kunstmuseum Bonn and the Aargauer Kunsthaus – offers a unique opportunity to discover Kris Martin’s spectacular installations.

Kris Martin occupies an important and quite distinctive position in contemporary art that draws on the tradition of the ready-made, but redefines it. His installations, sculptures, photographs and drawings humorously materialize his reflections on key questions about life. In an art of appropriation and revelation, Kris Martin sounds out the meaning and meaninglessness of human existence. With minimal interference and reduced means he alters found objects to create blank spaces, which viewers can fill with their own interpretations.

In For Whom (2012) a large church bell produces no sound even when in movement, as the clapper is missing. A huge hot-air balloon is inflated by a blower in the exhibition space and can be entered by the visitors (T.Y.F.F.S.H., 2009). In Trinity I (2009) Martin has removed all the letters and numbers from an indicator panel familiar from airports or stations. The indicators turn over in an unpredictable rhythm – without announcing places, times and destinations.

One focus of the exhibition is the series of works bearing the title Idiot. This is an encounter with the literary figure of the idiot, and at the same time a humorous reflection on the role of the artist in society. The departure point of these works is the Idiot (2005), a handwritten copy of Dostoyevsky’s novel of the same name. Kris Martin dedicated himself to this task every day for five months and made a minimal, but decisive alteration to the original: he replaced the name of the protagonist Prince Myshkin with his own, thus giving a fictional character a body and himself an identity.

Kris martin
Everyday of the weak
At the Kestnergesellschaft
23 November 2012 to 3 February 2013

Beyond Paparazzi

How the optic of news-hound photojournalism transcended photography and was embraced by art and fashion

By Paul Sullivan

The term paparazzi – famously brought into existence by Federico Fellini’s 1960 classic La Dolce Vita – is freighted with negative connotations, conjuring up invasion of private space, the nonchalant ruining of lives, physical assaults, high-profile law suits and more. Yet as a genre, its aesthetic has been surprisingly influential for a number of other styles, from fashion and fine art to its frequent overlaps with “loftier” genres such as documentary and street photography.

Weegee (Usher Fellig, a.k.a. the “papa of Paparazzi”) was one of the first to start snapping celebrities unawares, but he also worked with (and ahead of) police on order to capture everything from motor accidents to murders. By the Fifties and Sixties, Tazio Secchiaroli (the inspiration for Fellini’s news photographer Paparazzo) was stalking famous people in Rome, while Edward Quinn and Daniel Angeli were doing the same on the Côte d’Azur.

By the Seventies, the long lenses and bright flashes had shifted to Hollywood and the style was enjoying its artistic apex. Ron Galella had his teeth knocked out by Marlon Brando (and wore an American football helmet any time he expected to run into Brando thereafter), and Helmut Newton – a big fan of Weegee – hired real paparazzi to pose with his models for a Linea Italiana shoot, blurring the boundaries between the real and the staged. During this era, pap photography also held some sway over its old rival, painting. From Richard Hamilton’s Swingeing London, based on a photo of handcuffed Mick Jagger (and his gallerist) following a drugs arrest, to Warhol and Richter’s adaptations of a grieving Jackie Kennedy after the death of her husband, fine artists have been drawn to the pathos and vulnerability sometimes inherent in Paparazzi imagery.

While the classic paparazzi era of the Sixties and Seventies was known for the glamour of its targets and the cheekiness, inventiveness and speed of the photographer, today’s paps seem more concerned with tawdry details and cheap sensationalism than any urge to chronicle, with the genre’s aesthetic subsequently stripped of any artfulness. Fuelled by “moguls” like Australian Darren Lyons, who labels himself Mr. Paparazzi and trades in gossip, rumour and general self-aggrandizing, today’s community of tabloid Stalkerazzi has suffered a backlash, underlined by the likes of VICE Magazine (no strangers to intrusive journalism themselves) dreaming up the ultimate revenge: a documentary named Stalking the Paparazzi that turned the tables and confronted the celebrity-chasers.

Brad Elterman, co-founder of Buzz Foto, a photographic agency in Los Angeles, has been trying to re-install an art aesthetic into the genre. Hailing from an art-collecting family, he began as a paparazzo in 1975, at the tender age of 19, stalking the likes of David Bowie and other icons. His concept with Buzz Foto is to use “brilliant photographers with a passion for their craft” – and to seek iconic photographs that could not only be published in magazines but also hang at art galleries. His first exhibition at the Seyhoun Gallery on Melrose Ave (2008) was a resounding critical success.

Paparazzi styles have continued to leak into fashion, not least in the approach of today’s street style bloggers, who can command large figures from high-end magazines like Vogue and Harper’s Bazaar by hunting down models at fashion shows as well as in public. Street fashion blogger don Scott Schuman of The Sartorialist, is among the highest-profile of the genre, having been commissioned by everyone from Vogue Italia to GQ, and appearing in national ad campaigns for The Gap and Verizon. Increasingly in fashion, photographic talent comes from a street, rather than studio background.

To some extent, the proliferation of CCTV, digital cameras and instantaneous publishing via the Internet has made us all prospective Paparazzi – or victims of it. In one sense, it could be argued that “Pap Culture” has now become an everyday thing, as millions of social interactions, parties and events are made public online almost as soon as they’ve happened. Go to enough parties and get into enough photos and you might even become famous.

Pigozzi’s double-portrait series Pigozzi & Co, which was assembled during the Seventies, seems to presage this phenomenon. Rather than laying in wait for the rich and famous, Pigozzi built up relationships with them, not so much invading lives as being discreetly invited into them. In the images, Pigozzi appears alongside his famous friends, their heads enviably close, often touching, the photographer’s arm stretched outwards as he aims the camera towards his own face.

The images in this series remind of nothing more than the photos we’re all now used to seeing daily, hourly, even every minute, on our social media channels, albeit (mostly) with our usual friends rather than anyone glamorous. This visual monitoring of our everyday lives – by ourselves as well as others – has grown so commonplace that projects like Canadian artist Jon Rafman’s 9eyes have gone in the opposite direction, scanning the continuous stream of images taken by Google’s Street View cameras to find unexpected juxtapositions and unique moments within the everyday.

Sleek’s photoshoot of the new Mercedes-Benz A-Class (click on “image” above to check out the pictures), made by the Berlin-based photographer Lina Grün in Slovenia, bundles together many of these ideas, and shows how the paparazzi methodology can be turned and put to use outside its traditional field. Once considered an informational, investigative mode, the optic of pap photography is now also an artistic one, transcending its own boundaries and extending into the contemporary visual landscape in striking and surprising ways.

Sleek’s photoshoot of the new Mercedes-Benz A-Class (click on “image gallery” below to check out the pictures), made by the Berlin-based photographer Lina Grün in Slovenia, bundles together many of these ideas, and shows how the paparazzi methodology can be turned and put to use outside its traditional field. Once considered an informational, investigative mode, the optic of pap photography is now also an artistic one, transcending its own boundaries and extending into the contemporary visual landscape in striking and surprising ways.