UNPUBLISHED ASTROPHOTOGRAPHY BY MILOSLAV DRUCKMULLER

UNPUBLISHED ECLIPSE IMAGES PHOTOGRAPHED BY MILOSLAV DRUCKMULLER. A PREVIEW OF THE FEATURE IN SOME/THINGS MAGAZINE ISSUE003, WHICH INCLUDES AN INTERVIEW BY DEREK THOMSON, IS NOW ONLINE

NICOLAS MOULIN'S WENLUDERWIND SERIES IN CHAPTER004

/ A PREVIEW OF THE NICOLAS MOULIN FEATURE in SOME/THINGS CHAPTER004, WHICH INCLUDES AN EXTENSIVE INTERVIEW BY OUR CONTRIBUTING EDITOR DEREK THOMSON, IS ONLINE

ANTOINE MAISONDIEU, ANTHON BEEKE, & LIDEWIJ EDELKOORT IN CHILDREN LOSE NOTHING VIDEO

VIDEO BY NAT URAZMETOVA from the CHILDREN LOSE NOTHING exhibition opening on NOVEMBER 13, 2011 AT SOME/THINGS SECRET

/ MUSIC BY JULIA KENT

ANTOINE MAISONDIEU & KYOKO KATSUNUMA AT CHILDREN LOSE NOTHING EXHIBITION OPENING

KYOKO KATSUNUMA, JAPANESE MUSICIAN & MODEL FOR THE THEATRE DE LA VILLE EDITORIAL IN SOME/THINGS ISSUE002, & SHEENA MIYAKE, DAUGHTER OF SOME/THINGS CONTRIBUTOR JUN MIYAKE.




ANTOINE MAISONDIEU [senior perfumer at GIVAUDAN, who has created fragrances for BURBERRY, COMME DE GARÇONS, GIORGIO ARMANI, GUCCI, & LANVIN, among others] with SOME/THINGS Creative Director MONIKA BIELSKYTE.




shotaro okada [CONTRIBUTING EDITOR AT SHIFT] WITH SOME/THINGS DEPUTY EDITOR RAINA LAMPKINS-FIELDER




shotaro okada next to the SOME/THINGS wardrobe [with pieces by RICK OWENS, CAROL CHRISTIAN POELL, BORIS BIDJAN SABERI & NICOLAS ANDREAS TARALIS] WITH PHOTOGRAPHIC PRINT BY ATHINA KAZOLEA




SOME/THINGS CONTRIBUTING EDITOR DEREK THOMSON




RAINA LAMPKINS-FIELDER'S daughter ALICE.




JESSICA NOGHES-MENIO


/ PHOTOGRAPHY BY NAT URAZMETOVA AT SOME/THINGS SECRET

PAUL HARNDEN ARTICLE IN SOME/THINGS CHAPTER005

SOME/THINGS MAGAZINE CHAPTER005 FEATURES THE FIRST EVER INTERVIEW WITH PAUL HARNDEN, A UK BASED DESIGNER, BY DEREK THOMSON ACCOMPANIED BY RUSHES FROM HIS & STUART PITKIN'S SUPER 8 FILM 'PATTERN MILL'

PAUL HARNDEN / ...WE'RE PRODUCING A FILM ABOUT THE PATTERN MILL & ITS DIRECTOR, GORDON HAWLEY. IT’S JUST AMAZING THAT IT’S STILL HAPPENING LIKE THAT IN 2011. I MEAN, IT COULD BE A HUNDRED YEARS AGO, COULDN’T IT? THE MACHINES ARE ANCIENT. THEY’VE GOT ABOUT 40 LOOMS GOING AT ONCE. THERE ARE MILLIONS OF MOVING PARTS ON JUST ONE OF THESE LOOMS. IF JUST ONE COTTER PIN BREAKS, YOU CAN IMAGINE— WHEN IT GOES WRONG, IT REALLY GOES WRONG. & ALL IT TAKES IS A HEALTH & SAFETY GUY TO COME IN & SAY ‘WE’RE CLOSING IT DOWN, IT’S TOO NUTS.’ & IT’S OVER. WE'RE MAKING THE FILM TO RECORD IT FOR POSTERITY. IT'S PART OF OUR HERITAGE. THESE THINGS TAKE GENERATIONS TO DEVELOP, & THEY’RE GONE IN A SECOND AREN’T THEY? I’M REALLY PROUD OF THE WAY THEY’RE WORKING THERE. I JUST WANT TO RECORD IT. THEY’RE NOT MAKING THAT MUCH MONEY, IT’S ON A WING & A PRAYER, YOU KNOW. & WHEN GORDON RETIRES, THE HISTORY IS GONE. THIS IS THE LAST PATTERN MILL IN THE WORLD...



THE LAUNCH OF SOME/THINGS MAGAZINE CHAPTER005 ON 30TH SEPTEMBER AT SOME/THINGS SECRET GALLERY WILL INCLUDE THE PREMIER SCREENING OF PAUL HARNDEN & STUART PITKIN'S 'PATTERN MILL', CO-PRODUCED BY SOME/THINGS AGENCY WITH PARTICPATION FROM SONG BOUTIQUE VIENNA

EACH COPY SOME/THINGS MAGAZINE CHAPTER005 / SHE HAS NO STRINGS APOLLO OF WILL INCLUDE A DVD COPY OF THE FILM. PREORDERS AVAILABLE AT OUR ONLINE BOUTIQUE

BÉLA TARR IN SOME/THINGS MAGAZINE CHAPTER004

DEREK THOMSON / YOU SAY YOUR FILMS ARE NOT ABOUT A 'CONCRETE' HUNGARY. BUT ARE THEY ABOUT SOMETHING YOU FIND IN THE PEOPLE OF YOUR COUNTRY? IS THERE A PART OF YOUR FILMS THAT IS POLITICAL?

BÉLA TARR / I REALLY DO NOT LIKE TO SPEAK ABOUT POLITICS, BECAUSE I DON'T FIND IT SO INTERESTING. I RESPECT FILMMAKING BUT I DON'T RESPECT POLITICIANS. FOR ME, POLITICS IS JUST A DIRTY BUSINESS & I REALLY DO NOT LIKE TO SPEAK ABOUT THIS. ESPECIALLY NOW IN HUNGARY. WE'RE HAVING A REALLY HARD TIME HERE. IT'S A NIGHTMARE, IT'S A REAL NIGHTMARE.
LET ME TELL YOU ABOUT THE 'CONCRETE' HUNGARY. FILMMAKING IS A VERY 'CONCRETE' JOB, BECAUSE YOU HAVE A CAMERA, & THE CAMERA HAS AN OBJECTIVE [LENS]. THE OBJECTIVE IS, OF COURSE, OBJECTIVE. IT RECORDS REALITY— ALWAYS. THE REAL JOB OF THE FILMMAKER, IT'S VERY SIMPLE; YOU HAVE A REALITY & EVERYTHING IS VERY CONCRETE. THE TABLE IS A TABLE, THE ASHTRAY IS AN ASHTRAY, THE WINDOW IS A WINDOW. IT'S ABOUT HOW YOU COMBINE THESE REALITIES; THIS IS THE ONLY WAY YOU CAN ELEVATE THE MOVIE ABOVE A CONCRETE REALITY. DO YOU UNDERSTAND? FILMMAKING IS A VERY PRIMITIVE, VERY PHYSICAL JOB.

[..]

DT / I’D LIKE TO TALK ABOUT TIME, & TIME IN OUR MODERN AGE. HAVE YOU HEARD OF REMODERNISM? THIS IS A CONCEPT SET FORTH BY AN AMERICAN FILMMAKER CALLED JESSE RICHARDS. THE REMODERNIST FILM MANIFESTO IS A REJECTION OF POSTMODERNISM & DECONSTRUCTION. IT’S AN EMBRACING OF QUIETER, LONGER FILMS, THAT ARE CAREFULLY CRAFTED, HANDMADE AS IT WERE…

BT / NO, I REALLY DON'T WANT TO SPEAK ABOUT MODERNISM OR ANYTHING THAT TALKS ABOUT A PARTICULAR STYLE. THAT’S NOT MY JOB— IT’S THE CRITICS’ JOB. WHAT I DO IS THINK ABOUT TIME IN A VERY SIMPLE WAY. FILMMAKERS ARE NEVER INTERESTED IN TIME, WHICH DISTURBS ME BECAUSE TIME IS TERRIBLY IMPORTANT— IT'S A DIMENSION. OUR LIFE HAPPENS OVER TIME, & TIME IS ALWAYS SHORT, & GETTING SHORTER & SHORTER. THAT'S WHY I WANT TO SHOW YOU IN MY FILMS THAT TIME IS PASSING & WHEN SOMETHING IS HAPPENING IT'S HAPPENING IN TIME. I WANT TO SHOW THE VIEWER THAT TIME IS AS IMPORTANT AS THE SET, AS THE MUSIC, AS THE ACTORS & THE ACTION.

[..]

DT / I'VE READ THAT THE TURIN HORSE WILL BE YOUR LAST FILM. IS THAT CORRECT?

BT / YES, IT IS. YOU ARE TALKING RIGHT NOW TO A FORMER FILMMAKER. IT’S FINISHED. IT’S STOPPED.

DT / DO YOU FEEL THAT YOUR BODY OF WORK IS COMPLETE, THAT YOU HAVE NOTHING MORE TO DO IN FILM?

BT / YES. IF YOU SEE THE TURIN HORSE YOU WILL UNDERSTAND WHY.


/ EXCERPT FROM A CONVERSATION BETWEEN DEREK THOMSON & BÉLA TARR. ENTIRE ARTICLE ONLY IN THE PRINTED EDITION OF SOME/THINGS MAGAZINE CHAPTER004 / THE WINGS OF A LOCUST

NICOLAS MOULIN IN SOME/THINGS CHAPTER004 / THE WINGS OF A LOCUST

DEREK THOMSON / LET’S TALK ABOUT YOUR VISUAL WORLD, THE IMAGES THAT INFORM THE WORK THAT YOU CREATE. YOU’RE A COLLECTOR OF IMAGES… YOUR OWN IMAGES BUT ALSO THOSE OF OTHERS. WHAT KIND OF IMAGES DO YOU COLLECT?



NICOLAS MOULIN / I STARTED MAKING PHOTOGRAPHS WHEN I WAS IN ART SCHOOL. THEN I HAD THE IDEA TO COLLECT IMAGES WHILE TRAVELLING— SIMPLE & DIRECT MINIMALIST IMPRESSIONS FROM THE LANDSCAPES I PASSED THROUGH. I LIKED THE IDEA OF UNEXOTIC LANDSCAPES, THE KIND OF LANDSCAPE YOU CAN FIND ANYWHERE, RIGHT NEAR YOUR HOME OR THOUSANDS OF KILOMETRES AWAY IN A FOREIGN COUNTRY. THE WORK WAS CONNECTED TO A PERIOD OF HISTORY— THE END OF THE SOVIET EMPIRE & THE FALL OF THE BERLIN WALL. THE IDEA WAS TO GO BEYOND THE KNOWN BORDERS & TO SHOW THAT EVERYTHING IS ALWAYS THE SAME EVERYWHERE.



[..]



DT / WHERE DO YOU COLLECT YOUR IMAGES? WHERE DO YOU LIKE TO SHOOT?



NM / I USED TO TRAVEL A LOT, NOT THAT MUCH NOW. BUT THE IDEA OF TRAVEL IS STILL IMPORTANT TO MY WORK. NOT IN THE EXOTIC, TOURIST SENSE— THAT DOESN’T INTEREST ME. I ONLY TRAVEL IF I HAVE A SPECIFIC REASON FOR GOING SOMEWHERE. BUT IN THE EARLY 1990’S I WAS PART OF THE INTERRAIL GENERATION, & SPENT A LOT OF TIME IN EASTERN EUROPE. NOW IF I TRAVEL FOR MY WORK, OF COURSE I’LL TAKE PICTURES WHEN I’M THERE.

WHEN I VISIT A CITY, WHETHER I KNOW IT OR NOT ISN’T REALLY IMPORTANT. I CAN TAKE THE SAME KIND OF PICTURES HERE IN PARIS THAT I’D TAKE IN JAPAN OR PALESTINE.

NOWADAYS WHEN YOU TRAVEL YOU CAN GO TO THE OTHER END OF THE WORLD & CONTINUE TO LIVE IN EXACTLY THE SAME WAY, THE SAME CONTEXT & HABITAT & DÉCOR, AS YOU DO AT HOME. WHAT INTERESTS ME IS GETTING OUT OF THAT LIFE— REGARDLESS OF WHERE YOU ARE PHYSICALLY IN THE WORLD— & GO TO DIFFERENT PLACES, PLACES YOU WOULDN’T NORMALLY GO. THE FRINGES OF CITIES, THE EDGES WHERE THINGS GET MIXED UP, THE PERIURBAN INTERZONES.



DT / WHERE DID YOU GO IN EASTERN EUROPE?



NM / THE BALTIC COUNTRIES, POLAND, HUNGARY, BULGARIA, EAST GERMANY & THE USSR. I’VE BEEN TO NORTH KOREA TOO, IF YOU CAN CALL THAT THE EAST.



[..]



DT / I’M A TELEVISION JOURNALIST & NORTH KOREA IS THE ONE COUNTRY I KNOW WHERE ANY IMAGE IS INTERESTING. IT’S SUCH A CLOSED STATE THAT ANYTHING YOU SHOOT OR ANYONE YOU TALK TO IS INTERESTING. YOU CAN STICK A CAMERA OUT THE WINDOW OF A TAXI & COME BACK WITH A 22-MINUTE DOCUMENTARY. WHAT DID YOU CHOOSE TO SHOOT THERE?



NM / NORTH KOREA IS REALLY ‘ELSEWHERE’. SO IT’S TRUE THAT ANYTHING YOU SHOOT IS INTERESTING. THAT’S WHAT I DO IN MY WORK— LOOK AT THE UNFAMILIAR, THE IMAGINED ‘ELSEWHERE’. THAT’S THE BASIS OF MY PHOTOMONTAGES— AN ‘ELSEWHERE’ THAT DOESN’T EXIST. BUT WHEN YOU ACTUALLY GET THERE, IT’S THE SAME, THE SAME PLACE YOU ALREADY KNOW, THINGS ARE MUCH LESS EXOTIC THAN YOU THOUGHT BEFORE YOU WENT. PEOPLE ARE STILL PEOPLE. A BUS IS A BUS. A HOTEL’S A HOTEL. THE IDEA OF ’ELSEWHERE’ IS GREAT WHEN YOU’RE NOT THERE. BUT WHEN YOU ACTUALLY GET THERE, YOU’RE NO LONGER ELSEWHERE, YOU’RE THERE.

BUT IT’S TRUE THAT PYONGYANG IS DIFFERENT FROM WESTERN CITIES. IT WAS DESTROYED DURING THE KOREAN WAR & COMPLETELY REBUILT BETWEEN THE 1950’S & 1980’S. IT’S THE INCARNATION OF A MODERN SOCIALIST UTOPIA, KOREAN-STYLE. EVEN IF THERE WERE A LOT OF BUILDINGS BUILT IN PYONGYANG BY EAST GERMAN ARCHITECTS, THE CITY EMBODIES A FROZEN TIME THAT NO LONGER EXISTS IN THE WEST, AN ARMOURED CITY THAT’S ENVISIONED AS AN ARCHITECTURAL UTOPIA— COLLECTIVE HOUSING, FUTURISTIC FORMS, EVERYTHING IN CONCRETE. ARCHITECTURAL RATIONALISM WITH A FUTURISTIC, AERODYNAMIC DESIGN. OTHER CITIES ARE A MIXTURE OF OLD & NEW, SOME BUILDINGS PRESERVED, OTHERS REBUILT. BUT PYONGYANG IS FROZEN IN TIME. WHEN YOU GO THERE YOU SEE THAT IT’S BEGINNING TO DECAY. IT’S LIKE A VESTIGE OF A UTOPIA THAT’S FINISHED, A TIME WHEN NORTH KOREA WAS DOING OK. DURING THE 1960’S NORTH KOREA WAS RELATIVELY PROSPEROUS, NOT LIKE TODAY. IT WASN’T COMPLETELY ISOLATED, BUT PART OF THE COMMUNIST BLOC. THERE WAS SOME ROOM TO BREATHE. THAT’S NOT THE CASE TODAY.



/ EXCERPT FROM A CONVERSATION BETWEEN DEREK THOMSON & NICOLAS MOULIN. ENTIRE 30 PAGE ARTICLE & INTERVIEW ONLY IN PRINTED EDITION OF SOME/THINGS CHAPTER004 / THE WINGS OF A LOCUST.















>

IMAGES FROM THE LAUNCH OF SOME/THINGS CHAPTER004 AT SOME/THINGS SECRET

JARVIS COCKER





THE CROWD, THE SPACE





SOME/THINGS CONTRIBUTING EDITOR DEREK THOMSON





CHAPTER004 PAGE WITH VIOLETTA SANCHEZ





NOEMIE PROT OF CARTIER





JACQUES-ANDRE DESBUISSON





MARIAVITORIA SARGENTINI OF MARVIELAB



>





JARVIS COCKER









VIVIAN SKY REHBERG & CATHARINA Van Eetvelde





SOME/THINGS' AUSRA PRASAUSKAITE PRESENTING THE MAGAZINE TO GUESTS





SOME/THINGS DEPUTY EDITOR & CONTEMPORARY ART ADVISER RAINA LAMPKINS-FIELDER WITH JARVIS COCKER






PHILIPPE MIHAILOVICH & CHAPTER004 VIDEO PROJECTION BEHIND





MAURIZIO NARDI





RICK OWENS PRINTS BEHIND





CHAPTER004 VIDEO PROJECTION IN THE BACKGROUND





THE ENTRANCE









CHENG QU OF LAYERS LONDON









nayeli rodriguez & our guests from new zealand / zambesi, robert montgomery artwork in the background





zambesi & plume / charlotte ballesteros & hubert marot artwork in the background

FIRST LOOK AT SOME/THINGS CHAPTER004

HANDMADE SILKSCREEN TESTS FOR THE CHAPTER004 BOX






THE BINDING & COVER STRAP





A SPREAD FROM THE MAURIZIO ALTIERI article





TOSHIO SHIBATA FEATURE, OPENING ARTICLE OF CHAPTER004, WITH ILLUMINATING INTERVIEW BY MARC FEUSTEL.






NICOLAS MOULIN feature WITH FANTASTIC INTERVIEW BY DEREK THOMSON.





TACITA DEAN feature





RACHEL WHITEREAD feature





WALID RAAD & THE ATLAS GROUP ARTICLE WITH TEXT BY STEFANIE BAUMANN WRITTEN EXCLUSIVELY FOR SOME/THINGS





BERNHARD EDMAIER'S PHOTOGRAPHY OF THE MOST INCREDIBLE PLACES ON EARTH





OPENING SPREAD OF THE 54-PAGE RICK OWENS FEATURE THAT TOOK US 5 MONTHS TO SHOOT.





ROGER BALLEN FEATURE WITH HIS NEW, NEVER BEFORE PUBLISHED BODY OF WORK ON BIRDS.





CHARLOTTE BALLESTEROS & HUBERT MAROT FEATURE + A SPECIAL THANKS TO ANTALIS FRANCE PRINTED ON GORGEOUS NEBLINA PAPER.





RUDOLF SCHÄFER BY MARTIN D'ORGEVAL, CLOSING FEATURE OF CHAPTER004.



SOME/THINGS CHAPTER004 / THE WINGS OF A LOCUST WILL BE LAUNCHED AT SOME/THINGS SECRET ON MARCH 3rd 2011. PRE-ORDER YOUR COPY NOW AT SOME/THINGS BOUTIQUE

CHAPTER004 / THE WINGS OF A LOCUST CONTENTS

002 PREFACE / RAINER MARIA RILKE

004 TOSHIO SHIBATA / DAMS [WITH INTERVIEW BY MARC FEUSTEL]

034 BÉLA TARR / THE BIG WAVE [with INTERVIEW BY DEREK THOMSON]

048 LÁSZLÓ KRASZNAHORKAI / MELANCHOLY RESISTANCE

050 NICOLAS MOULIN / A FUTURE PAST [WITH INTERVIEW BY DEREK THOMSON]

080 MAURIZIO ALTIERI / SELECTED CORRESPONDENCE [PHOTOGRAPHed BY MONIKA BIELSKYTE]

100 TACITA DEAN / BACKWARDS & FORWARDS IN TIME [WITH INTERVIEW BY RAINA LAMPKINS-FIELDER]

110 MALGOSIA BELA [TOILES] PHOTOGRAPHY BY MONIKA BIELSKYTE

124 SCOTT BARNHILL [TOILES] PHOTOGRAPHY BY MONIKA BIELSKYTE

136 PAUL VIRILIO / BUNKER ARCHAEOLOGY

144 RACHEL WHITEREAD / PETRIFIED SILENCES [WORDS BY THE ARTIST / QUESTIONS FROM RAINA LAMPKINS-FIELDER]

154 JAN KEMPENAERS / MONUMENTS

162 WALID RAAD / MY NECK IS THINNER THAN A HAIR & OTHER HISTORIES [WITH text by stefanie baumann ]

174 JUNICHIRO TANIZAKI / IN PRAISE OF SHADOWS

176 BERNHARD EDMAIER / VOLCANOES

196 WONG KAR WAI’S HAPPY TOGETHER [BEHIND-THE-SCENES] BY WING SHYA

204 5 MONTHS [WITH RICK OWENS] PHOTOGRAPHED BY MONIKA BIELSKYTE

258 MARC GARANGER / LES FEMMES ALGERIENNES

272 PAUL HARNDEN / BRIGHTON

284 WING SHYA [LI YUAN & HUIJIE GE] STYLING by KANAKO B. KOGA

292 TAKA MAYUMI [VIOLETTA SANCHEZ] STYLING BY KANAKO B. KOGA

300 ROGER BALLEN / & THEN THERE IS EVERYTHING ELSE [WITH INTERVIEW BY RAINA LAMPKINS-FIELDER]

312 JENNY HOLZER / SELECTION FROM INFLAMMATORY ESSAYS

320 LEBBEUS WOODS / THE GREAT CITY OF LIGHT [WITH TEXTS BY THE ARTIST]

332 GINTAUTAS TRIMAKAS / PLANES [TEXT BY AGNE NARUSYTE / QUOTES BY THE ARTIST]

340 MANABU YAMANAKA / ARAKAN

348 CRISTO VELATO DI RAIMONDO DI SANGRO / PHOTOGRAPHED BY MONIKA BIELSKYTE

358 CHARLOTTE BALLESTEROS HUBERT MAROT / CARRARA-BERLIN-UBAYE

368 RUDOLF SCHÄFER’S DER EWIGE SCHLAF [VISAGE DE MORTS] BOOK PHOTOGRAPHED BY MARTIN D’ORGEVAL

379 POSTFACE / JOY DIVISION


/


TECHNICAL DETAILS OF CHAPTER004

HAND NUMBERED LIMITED EDITION OF 1500

COVER PAPER 400G OLIN SMOOTH, INLAY PAPER 50G & 120G OLIN REGULAR & 150G GALERIE ART SILK.
[TECHNIQUES USED] COLOR, SPOT COLOR, ENHANCED B/W PRINTING & LACQUERING, POSITIVE BLIND EMBOSSING, FOILING.
SIZE 246X245X30MM, WEIGHT 2KG.
COMES WITH CARDBOARD BOX, DEBOSSED & HAND-MADE SCREEN-PRINTING.


/



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