The brutal aesthetics hidden within the familiar of everyday life, the globalized sameness of todays metropolises, and the way these megacities are meticulously planned are central themes in Wolfgang Lehrner's work. As great fans of his immaculate eye, we have shared his beautiful Athens-shot series 'Metro-Polis' here before. Lehrner’s latest ambitious project named 'City Without Name' is another incredible addition to his body of work. Capturing different aspects of everyday life in Mexico City in his unique manner, he takes the spectator from the heart of the city all the way to the periphery and back again; always finding an extraordinary level of abstraction, straight lines, anonymous people on the move through the constructions erupted out of a seemingly infinite mix of glass, steel and concrete. Lehrner captures moments in Mexico City that are so familiar, yet feel as if taking place on a different planet. Evermore questioning the utopian concept of modernity, he portrays a city without distinct limits, always finding a way to mould these uniform and monotone moments into intrinsically captivating images. [ Continue reading ]

What is it, that attracts us so much in raw and unpolished images like these, that capture the world of young adults? Despite that the genre appears in numerous forms, transcending different continents and contrasting cultures, there is always a similar open-mindedness balanced with a certain fragility that comes with youthfulness to be observed. Whether it is to be found in the colorful images of Gilleam Trapenberg or Katja Kremenić, the 78’s captured by Gil Rigoulet, the kids along the 8,000 Miles on a Motorcycle by Robin de Puy or the dark Dystopian Sequences by Alexis Vasilikos. All of these representations are related through a similar energy, inspired by the lack of a strictly demanding moral imperative — they all caption life's randomness in full effect that hits one first as an adolescent…

We just discovered a worthy addition to this list of favorites in the genre, created by the young Kiev-based photographer Nazar Furyk’s, whose ongoing series capturing the hedonistic youth of Ukraine’s provinces is uncompromising raw and beautifully vibrant, sucking one directly into the palpable world he has captured in still frames. [ Continue reading ]

While we are in the last few hours of 2017, it is time to look back on a year in which a long list of new chapters were opened within the worlds of ...,staat and NewWerktheater; New Amsterdam and of course Another Something — which sums up the core of all of our individual activities. Despite the undeniable fact that a complete new horizon has risen for the both of us in the last twelve months, bringing a totally renewed field of demands and focus points, it still feels like a year in which we have gotten closer to the place where we would like to be at most. A place where we are both able to do what we do best. More-so, it was also a year in which we were reminded urgently to not take anything for granted, which we'll keep in the back of our heads from this particular moment on.

While aiming to do exactly this: taking nothing for granted, pushing ourselves to stay as hungry and ambitious as before, it proved that what we have done through Another Something for years remains as relevant as ever. Single out the people, projects and thoughts that inspire us most, continues to be the recipe that forms the fundament in everything we do, regardless of the particular field. Beyond finding inspiration and new thoughts in the work of others, above all it was a pleasure to collaborate with Lennard Kok, Suzan Becking and Michiel Verweij; Jackie Villevoye and Victor Ponten, giving us the chance to be part in three incredible projects: Fallen Bird, Aesthetic Memories and the upcoming feature film Catacombe. As the latter will be in cinemas only in September, there is no doubt in our minds that the upcoming year will be another one to be very excited about, holding many things to look forward to already as we write this — let's just all start trying to reduce the noise and grab life only by the horns that really matter in 2018... We are ready for it. [ Continue reading ]

As one of the last features of this year we wanted to share this special project we did at NewWerktheater. Parallel to our collaboration of last month with Lennard Kok, the Fallen Bird, we’ve been busy in our other role at NewWerktheater and …,staat to work on another collaboration we’re extremely excited about; Jupe by Jackie x …,staat.

The idea behind NewWerktheater Editions is to explore disciplines beyond those that are generally our own. To create great things with great people. To see what we can get from the ground and where we could end up if we walk a road unknown. 'Aesthetic Memories' exemplifies precisely this. This body of works took us somewhere we never could have imagined beforehand. We were drawn to the mastery required for this ancient technique. First, we fell in love with the craft, then we met the person behind it and fell in love all over again. Meeting Jackie was one of those instant clicks. You know the type.

When we started discussing designs, deciding on form, translating our inspiration for color, we soon found ourselves entering the territory we set out to find – challenging tradition. Hand-embroidery is traditionally decorative, traditionally representational. But, what if we worked with abstractions? What if we clashed the intricacy of the handwork with geometric elements? [ Continue reading ]

Chris Cheung, creative director of the Hong Kong-based interdisciplinary creative studio XEX, reached out to us to share his latest art installation called 'Prismverse'. An immersive audiovisual installation to define a new dimension of light. As the title of the installation unveils it capture two core ideas; A prism as the medium that translates light on one hand, and a verse as the multi-timespace dimension. [ Continue reading ]

Lisbon-based publisher Pierre von Kleist is one of the creative platforms that we have had a love affair with from the moment when we first discovered their incredible publications. They say love fades over time, but Pierre von Kleist has consistently published top notch projects during the few years that we've been following them, making it safe to say that we feel no different than years ago. Their latest publication, that has been released last week, is named 'Concrete Octopus' and takes off where renown Japanese photographer Osamu Kanemura´s 2002 acclaimed 'Spider's Strategy' left. For the first time, Pierre von Kleist teamed up with Tokyo-based publisher Osiris to create the beautiful new publication with new moody black and white work done between 2011 and 2013. As Kanemura's familiar dark film noir alike signature runs through every page of the book, it fits perfectly that  film critic Chris Fujiwara was given the chance to write the accompanying text included in the book.

It would be strange and misleading, though obviously not wholly inaccurate, to call these photographs “images of the Japan of the present time.” Though they might perhaps have much to say to the social historian, their documentary function is circumscribed by the interest in exploring a visual universe too disunited and incomplete to be recognizable as a cultural or historical form. In these images, the world presents itself with great purity and without provocation or seduction, as though poised in the interval before the repetition of an already forgotten catastrophe. We can't stop gazing at these new mysterious set of images, which underlines both the immaculate eye of Kanemura and the fact that next to being a publisher, Pierre von Kleist has transformed into a label of utmost quality, with everything they put out being deeply inspiring.  [ Continue reading ]

The Lange Leemstraat is one of Antwerp’s longer continuous streets. It starts on the edge of the city center and cuts straight through the Klein-Antwerpen area, which is popularly better known as (a significant part of) the Jewish neighborhood. The street slices the segment of the Belgian city between the Mechelsesteenweg, the Van Eycklei and the Belgiëlei, in two halfs — together forming a perfect triangle when seen on a map. Most of the tall but narrow houses in the street are at least four stories high and an overall multiethnic feel prevails next to the omnipresence of the orthodox Jewish community; when entering the street one is instantly struck by a metropolitan vibe. It feels like a miniature Brooklyn in the heart of Antwerp. For me, it forms one of the many (hidden) qualities of the city with a remarkable cultural diversity and unique urban structure that was only partly transformed for the modern age.

When continuing along the street from the center, somewhere halfway at the heart of Klein-Antwerpen, the impressive 'Résidence Isabelle' arises. The street is too narrow to actually see it before being in its proximity. All of a sudden it’s just there, forcing the street into an Y-crossing. The apartment building is the kind of beautiful architectural dissonance one finds throughout Antwerp. It doesn't match with its surrounding, but fits beautifully. In today’s digitally globalized world the concept (or illusion?) of visibility is more dominant and demanding then ever. In my eyes, an organically grown, bricolaged, environment like the Belgian harbor city still cultivates the opposite: a strong sensibility for the unknown and the mysterious through its partly chaotic, partly impractical, but always deeply intriguing urban DNA.

When somewhere last year, we discovered the work of a young Antwerp-based painter named Bendt Eyckermans, a very similar feeling of mystery hit. Who was behind these striking paintings, reminding of some of my favorite magic-realistic artists, yet with an incredible contemporary perspective and subject matter? After connecting through Instagram (bless the digital age too!), Bendt agreed to meet in his studio, which to my surprise is located right there in my favorite neighborhood of the city. [ Continue reading ]