09/05/2011

The Editorial: Sushi or Spaghetti?

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The Editorial: Sushi or Spaghetti?

Sometimes it pays to be late to a party: after missing out on the early years of fast food, the now global Slow Food movement is wholly a product of Italy. And after mostly missing out on the dehumanising, smoke-belching factories of the Industrial Revolution which plagued the UK and other countries through the twentieth century, Italy’s fashionably late arrival to industrialisation saw the country become the world’s foremost producer of design goods (illustrated brilliantly in the Triennale’s current exhibition, Dream Factory), and it is one of the few western nations to maintain a solid manufacturing base. Still, at an ever increasing rate, the fads of the northern countries and the USA inevitably make their way here one way or another.

The country’s food culture has been particularly slow to change, with Italians generally sticking steadfastly to their simple, fresh and delicious food. Not coincidentally this inherent locavore attitude once made for one of the most sustainable (and healthy) food ecosystems on the entire planet. But with shifts of population, and shifts of taste (and for fear of being seen as provincial) Italians have begun to demand variety beyond the kebab and occasional dodgy Chinese restaurant. You can now find almost any ethnic food imaginable in some form around Milan, and while nowhere near as cosmopolitan in terms of food as Paris or New York, the food landscape has been altered drastically.

Sushi is among the most visible recent arrivals. While Los Angelenos and New Yorkers were eating the neat little morsels en masse by the mid 1980s, it was impossible to find it in any medium sized Italian cities even five years ago. Slowly but surely, though, sushi has arrived. Very recently, several all-you-can-eat Japanese restaurants have been springing up around Milan (the latest is a tacky black-lacquer affair in Porta Ticinese loudly proclaiming its unlimited sushi to passersby in an 80s kung-fu movie typeface). Sushi has gone mainstream in the Bel Paese, and despite its late arrival, chances are even your nonni have tried it.



But this fad has far-reaching consequences. The simple fact is, the food (especially the seafood) that is sustainable to eat when you live on an island in the Pacific is not the same food that is sustainable to eat when you live on a peninsula on the Mediterranean. Full stop. And with exponentially increasing demand from industrialising countries on the ocean’s reserve, there is bound to be a massive collapse that will leave millions without any fish unless drastic steps are taken. Fish populations are dwindling – entire species are in danger of extinction – and sushi’s liberal use of shark, snapper, swordfish and all sorts of unsustainable tunas is a major source of the problem. As another country of tens of millions embraces the cuisine, demand will only increase. Not to mention the peripheral damage caused by irresponsible hunting: countless dolphins, sharks, octopi, fish, crabs and others killed as “bycatch,” destruction of coastal habitats and coral reefs and a general loss of equilibrium in the sea.

Fish are the last wild animals we hunt commercially for food, and as we approach the limits of their resiliency we must become much more responsible, lest we find ourselves with ruined oceans and no fish within a generation. Quite simply, the world cannot sustain a planet of several billion sushi eaters. This is by no means only an Italian problem, but with with any luck, the country’s late arrival to the sushi party and exceptional food patrimony can help transform it into a voice of reason.

Call it provincial, but while in Italy, doesn’t it sound much nicer to have a nice branzino al forno caught just off the coast than a frigid piece of tuna flown thousands of kilometers to your plate?

Visit Seafood Watch for a wealth of excellent information regarding responsible seafood and other initiatives for preserving our oceans.

Tag Christof – Images courtesy Seafood Watch

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06/05/2011

3° Atto / Opus Creative

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3° Atto / Opus Creative

Opus Creative’s third act bows today: 10A Suspender Trousers Company, a new paradigm for Made In Italy.

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05/05/2011

Florencia Serrot / Skye Parrott: Visual Diaries / Girls

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Florencia Serrot / Skye Parrott: Visual Diaries / Girls

I want to be uncontrolled and controlled at the same time. The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember. – Nan Goldin

We’re strong believers in the power of collaboration – and we’re thrilled about the opening this evening of Visual Diaries / Girls at Stephanie Bender in Munich. The show grapples with how the camera, so often sandwiched between the photographer and his or her life, becomes a conduit to reality. Photos, then, when taken as a body of work make up rich, multilayer visual diaries – collective bodies of impression that become the visual narrative of a life. Curated by Argentinian photographer Florencia Serrot, this exhibition brings together eleven female photographers, each quite distinctive in style, but united by their complete involvement in their own work – thereby making their work’s comparison to a diary even stronger. Many not only shoot, they develop, curate independent magazines and actively participate in their work’s exhibition.


In addition to themes of the camera and photograph’s larger role (oh, Sontag!), the curator takes a critical look at changes in the medium itself during this generation of technological, geographical and economic upheaval. Its approach likens this moment in photographic history to that of the “watershed” times of the 1970s, in which Egglestone and others “pioneered a revolutionary representation of everyday reality.” New media, wildly divergent photographic processes, and instant gratification has, indeed, changed our landscape of imagery. And all of this is, of course, set in the context of world in which photographers now have unrestricted spaces online in which to display their work.

2DM’s Skye Parrott, who was the protegée of the extraordinarily influential photographer Nan Goldin in her formative years, is one of the featured photographers. In addition, the curator herself is showing, as well as Sophie van der Perre, Helen Korpak, Manuela de Laborde, and six others. Interestingly, no two in the group are from the same country, which should make the discourse all the richer.


Vernissage is tonight, with exhibition running until the 4th of June at Stephanie Bender, Schleißhiemerstrasse 9 in Munich. It will subsequently show at Temporary Storage Gallery in New York, as well as other galleries to be subsequently announced.

Tag Christof – Images courtesy Skye Parrott / 2DM

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04/05/2011

Essen: Il Pane d’Altamura

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Essen: Il Pane d’Altamura

With bread we left our beastly beginnings and conquered, through grinding grain, a civilised state. Even Homer says this, having utilised “eaters of bread” as a metaphor for humankind. And going even further east and reaching back deeper into the centuries we see that even Gilgamesh, the sacred text Mesopotamia, told of man’s escape from the primitive with the discovery of the production of bread. In Puglia on a tract of land in the mountains in Murgia, among a landscape of volcanic rocks, the passage from barbarism to civility was made beautifully possible with the Pane d’Altamura.

Linked twice over with peasant culture since the end of medieval times, the “u skuanete,” or kneaded bread, is the principal good produced by the inhabitants of Alta Murgia and the centre of Pugliese society. It is the best bread in the world – or, so said the Latin poet Horace – and the clever adventurer always took a loaf away with him.

Made from durum wheat semolina, derived from the grains of the varieties “appulo,” “archangelo” “duilio” and “simeto,” water, natural yeast and salt. It is a process carried out in five phases: making of the dough, formation, proofing (the rising of the dough), shaping, and finally baking in a wood oven. These phases give the Pane d’Altamura an exceptional longevity. One loaf can be enjoyed even a few weeks after its baking, with tomatoes and extra virgin olive oil maintaining unaltered the flavour and nutritive properties.

Produced at home, bread was cooked in communal ovens. Bread was brought to the baker and marked in wood with the initials of the head of each family. Then, one waited for a yell from the baker at dawn announcing that the fresh bread was ready. Today, there are very few producers and bread makers who stick to the tradition.


If you would like to have an adventure in the valleys of Murgia, we advise you to always check that its colour is yellow, its crust crunchy and at least 5mm thick, that it has a porous, flakey inside, and that its baking was done in a wood oven. If, instead, you’re of the DIY conviction, here’s an excellent recipe to try out at home:

Recipe:
Making Pane d’Altamura at home is not easy, nor is there a guarantee of success.

The following is a slight variation for the “homemade” version, and is a previous recipe of a finished product. We also remind you that both this version and the original AOC version contain a notable percentage of gluten. Around 15%.

Ingredients:
700 grammes of durum wheat flour
20 grammes of natural yeast
400ml of water
1 handful of salt

On a cutting board, form the flour into a volcano-like shape, making a nice space at the centre. Add the yeast in the middle, with a glass of lukewarm water. Start forming the dough, adding a handful of salt and continue for at around 30 minutes. Allow to rise under a cotton cloth for at least three hours, then knead thoroughly and let rest for 10 minutes.

At the end of the second rest, make with a rectangular form from the dough and make it round by rolling it on itself. Dust with flour, and mark with a serrated knife with a cross from end to end.

Preheat oven to 250°C (480°F), and after having let the bread rest for a few minutes, bake for 40 minutes.

Pancotto d’Altamura
Pancotto is a typical Pugliese recipe, as simple as it is nutritious. It has been the principal and favourite dish of children in Murgia.

Ingredients for four people:
400 grammes of firm Altamura bread
1 crushed clove of garlic
Bay leaf (laurel)
Salt
Extra virgin olive oil
Pecorino cheese
Water

Preparation:
Paying special attention to the crusts, break the bread into small pieces and place it in a saucepan. Add water until the bread is covered and bring to a boil. Add the garlic, bay leaf, and a pinch of salt and let cook on low heat for around 20 minutes, allowing the water to boil away. Plate the bread and add extra virgin olive oil and the pecorino as desired.

A note to our regular readers: Essen’s Saturday food column has been moved to Wednesdays!” Visit Essen for more fantastic insight into the world of food.

Cristina Zaga – Translated by Tag Christof – Images courtesy Federico Garibaldi

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03/05/2011

Panorama’s Icon

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Panorama’s Icon

We got our hands on a paper mockup of of the Panorama’s newest magazine, Icon just before it officially hit newsstands on Friday. This shiny new effort is a men’s fashion and lifestyle journal that will instantly join the ranks of serious men’s magazines.

It recalls Esquire, and like that storied publication, evokes a modern incarnation of the cultured, mature, self-realised man the original GQ conquered several decades ago. It covers travel, mixology, and has a nice sartorial bent to its fashion (and provides some handy how-to’s and making-of’s throughout). And in addition to the requisite glitzy editorials, there is an interesting series of articles ranging from musing on the colour black to a look at the mod in fashion. And for this week’s Royal Wedding-crazy audience, there’s even a handy article about Windsors and changing of suit.

We’d definitely call it a welcome edition to the pantheon of distinguished men’s publications.

Contributors to this first issue include Ugo Bertone, Suzy Menkes, James Gulliver Hancock, and many others . And we’re honoured to have gotten our hands on it before anyone else. With cinema villain par excellence Vincent Cassel on the cover, the tone is set for the makings of a new Icon!

Tag Christof

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02/05/2011

The Editorial: A Mexican Hipster & Her Acapulco Bike

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The Editorial: A Mexican Hipster & Her Acapulco Bike

Hipsters haven’t been a cultural minority for quite some time now. In fact, the obnoxiously iconoclast-at-all-cost hipster of yore has ironically been subsumed by his own culture, with even legions of teen girls now burning Lucky Strike and sucking down cans of Pabst Blue Ribbon at “alternative” parties. The famous Adbusters cover of a couple years ago proclaiming the hipster dead proved prophetic, afterall: the term has ceased to mean much of anything, its loose connotations now falling somewhere between 1) the irreverent, self-glorifying eternal teenager embodied in hilarious blog Hipster Runoff (and its countless imitators), 2) suburban kids in garish vintage clothes who have “rediscovered” The Smiths and 3) the design-loving, false-Luddite, artisanal beer-drinking foodie snob embodied in every Brooklynite. Perhaps the one unifying factor among the three is an undying reverence for the fixed-gear bicycle.

Now that the whole world is one gigantic small town in which we all must compete with billions of others, the fight for individuality, however, has taken on special importance. We must all be hipsters at heart, lest we be lost permanently in the crowd. Nevertheless, like so many cultural trends with roots in America and Europe, the hipster’s effect on the world at large has been unpredictable and at times has pitted western cool against the very cultures embracing it. Hipster spread predictably from West Coast USA to western Europe and Britain, and from there onto everywhere else. Now there are Chinese hipsters, African hipsters, Russian ones and Brazilian ones.

During Salone del Mobile, we had a chance run in with a promising young Mexican designer named Ana Gaby Gonzáles on the metro. We, being qualified type 3 hipsters (see above), approached her because of her particularly gorgeous sea-green fixed gear, which, fortunately for us, happened to have been designed by her. It turns out that the bike itself had a rather interesting story behind it, and since it was a clear sign of hipster’s world reach as well as an interesting design study, we invited Ana over for a conversation.

As part of an initiative from Mexico City-based espresso cycles for young Mexican designers to create several one-off bikes representing one of the country’s cities, Ana’s very 1950s colour scheme choice – together with detachable basket and portable umbrella – is an homage to Acapulco. The quintessential Mexican beach destination, which has declined precipitously in recent years, was the designer’s reach into the lost Mexico from her childhood. The problem is, one would never think immediately of Acapulco despite its colours: its essential form is fixed gear minimal and thus says “urban America” in the same way a Vespa painted in any colour says “Italy.”

Ana’s bike instead represents the new and strong cultural mixing that has erased borders in the internet age. Hipster has taken hold in Mexico, and as such, has itself become a part of Mexican culture. The fixed-gear community in the country is now large – check out Mexico Fixed – and well-established. And while the bike may be seen as yet another foreign colonisation of Mexican culture, for Ana it is instead a modernising of Mexico while keeping sight of its roots. And with the Acapulco bike’s well-intentioned mission, its importance ultimately lies in considering whether cultural preservation can be reconciled with progress in the first place.

Just like the dead hipster was overtaken by his own overdone individualism, entire cultures must make certain that they maintain a sense of individualism. Mexico, and Mexican designers especially, must therefore strive to mine their country’s energy and identity to truly preserve while making progress. With its incredible richness of imagery and rich tradition of transportation devices – from the humble improvised food cart to a deep love for vintage automobiles – there’s a lot of inspiration to be had… Ana and her peers are definitely moving in the right direction.

Ana’s bike (which is now permanently hanging around The Blogazine’s bureau) had previously been featured on Core 77 and in an exhibition from Our Cities Ourselves called Nuestras Ciudades Nuestro Futuro: “2030 Diez Ciudades Imaginando La Movilidad” – catch the video here.

Tag Christof 

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02/05/2011

Daniel Sannwald / Pluto and Charon

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Daniel Sannwald / Pluto & Charon

Photographer Daniel Sannwald is force in the making: his fashion work is groundbreaking and dramatic, often exploring themes of the supernatural and the extraterrestrial. He’s appeared in the very best of fashion publications and did an editorial and heart pumping video for Test alongside the lavish stylings of 2DM’s Tamara Cincik. We caught up with him this Friday, just as his exhibition opens at the prestigious Festival Hyères in the idyllic south of France, where he’s currently enjoying a Provençal cottage, local fare and the company of excellent friends. We talked bodily constellations and the cosmos, his new monograph and tea with a very fascinating nonagenarian…

So, your exhibition opens today at Festival Hyères. What can we expect?
The show is curated by Michel Mallard, who I deeply respect. The show will be my work trough his eyes. He made a great selection of works and the room will take the visitors on a journey trough my visual world over the past five years.

Are you having a nice time in Provence?
I rented a nice country house with some friends from London. Its a wonderful house with a huge garden surrounded by fields and trees. We even have goats in our garden (and goats are one of my favourite animals). Its just lovely. More Friends are arriving from France, Germany and Belgium this evening. It feels like a nice holiday and we are enjoying the time together; grilling fishes, taking boat trips on the sea, reading poems, exploring nature and having late talks at night with wine and cheeses.

“The moon always follows the sun,” the title of the exhibition, is gorgeous and evocative. What’s behind it?
I am fascinated by the fact that things come to you and find you in the right moments. You just need to be aware and open, and not on a search. Last year I experienced the loss of a great love and was unable to understand the concept that the world kept on turning. For me everything stood still and I was extremely confused by the fact that my world stopped, yet the outside world kept on turning. One day in an African bookshop I found a poem titled “The moon always follows the sun.” It gave me much strength at that moment. I thought it would be a wonderful title for my first exhibition and a good link to my book title “Pluto and Charon” and my fascination with the universe…

Speaking of cosmic things, I saw a couple weeks ago on your a href=”http://danielsannwald.blogspot.com/”>blog that you discovered a series of markings on your body that exactly mirror Ursa Minor. That must have been a revelation.
I am dreamer and often I lose contact with the world around me and drift secretly away into my own. The discovery of the star constellation Ursa Minor on my body was very exciting to me. In my head I dream about missions and adventures and about who would solve the mystery of the markings on my body. The universe and its Great Unknown always fascinated me… and adventures too. (of course!)


What other concepts and realms of the mind have you been exploring lately?
You should join my friend Rose and I for our weekly tea parties. She is 90 and the oldest friend I’ve ever had. We talk about lovely things, and great concepts and wonders. Its hard to talk about concepts and realms of the mind without a nice cup of tea.


Oh, and the book! Tell!
It’s my first monograph, which I published this year with LUDION Publishing and Michel Mallard. The book is called “Pluto and Charon” and shows a great selection of my editorial work of the past 5 years.  Pluto and Charon are unusual among planetary systems in that each is tidally locked to the other – Charon always presents the same face to Pluto, and Pluto always presents the same face to Charon. My book plays with the concept of these two bodies, it’s a kind of love letter to what will come, and what has already been.

Thanks, Daniel!

Interview and Introduction Tag Christof – Images courtesy Daniel Sannwald
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