Tamara Faith Berger talks to Whitney Mallett

Tamara Faith Berger writes the best similes. Like the rest of her prose, they’re visceral and utilitarian. “My mouth felt like wallpaper glue” or “the smell from her shorts was like milk on the verge.” The pleasure of Berger’s language, the way it grabs you—you can flip open a page at random and it’ll still sink its hooks into you.

Jessica Baldanza on Dr. Death: the Renaissance Man

Historically, the concept of the “Renaissance Man” has been as ill-bequeathed as it has been gendered, and the aspiration to it may or may not be responsible—consider any number of “celebrity crossovers” from George Bush’s dog paintings to James Franco’s (unfortunate) homages to Cindy Sherman. Amongst such ranks are the various works of Dr. Jack Kevorkian. Also referred to as “Dr. Death,” Kevorkian was a self-proclaimed renaissance man, and possessor of a different kind of fame.

David Jien’s Prime Earth

Like an anxious Slider, we arrive to David Jien’s world in hopes that it is Prime Earth. Recon: everyone is happy, busy. There are lush leaves on the trees, normal clouds and normal sunshine. There’s a sense of purpose, adventure even. ABCs are in order; things are normal. Until we realize—they aren’t.

100 People in the Room by Rebecca Storm

The “taking another look” line is iconic for several reasons, one being that it’s a stunning instance of Bradley’s inexplicable sex appeal—the glittering of his blue eyes to a near ludicrous extreme, and his face as worn and as chestnut as a gerascophobic Cary Grant, somehow successfully bolster this.

Ram Han’s AI-level illusionism

Despite superficial tendencies towards cuteness, Ram Han’s sexualization of women feels like apocalypse pornography. The male species have been obliterated—their bodies too weak to process the now-toxic quality of air.

Beatrice Domond In Her Own Words

Flordia skater Beatrice Domond shot by Dustin Henry for issue 19

Louise Bonnet’s Fleshy Figures

Louise Bonnet’s figures are on display for the viewer to peer at—unchallenged by any face or eyes peering back—like the Elephant woman with a hanky over her face at the circus sideshow. There’s a tightrope wobbly walk between limp and erect.

Leon Chapdelaine In His Own Words

PUBLISHED IN ISSUE 19  Shirts off Leon! We decided it was time to get to know star skater Leon Chapdelaine on a deeper level. Photos by Dustin Henry. Special thanks to Vans for making it happen.   Picture of Leon filling out our questionnaire!

Premiere: Unknown Mobile’s Starstruck

We’re excited to premiere Unknown Mobile’s latest track “Starstruck” off his upcoming EP on SOBO. The Montreal-based producer leads us on yet another journey with this pulsing new EP. Whereas the title track “Clocktower” blasts off, the momentum of “Starstruck” builds gradually sustaining its calm through layers of choral harmonies and touches of trance. On a whole Clocktower feels…

Claire Barrow: Les Sports Xtréme

We’re excited to showcase Claire Barrow’s mini-collection Les Sports Xtréme on Editorial today. With her new collection, the London designer invites us to dig a hole and “throw the soul” behind some bushes. Xtréme Sports explores the theme of battles, political and personal. Daniel Swan’s 40 second musical film incapsulates a nuclear hellscape, featuring ladies…

Duality of a Garment

Montreal designer Benjamin Lafaille, from Laugh by lafaille, worked with photographer Yuki Kasai-Paré and stylist Edo Oliver to bring us a photo story that maps the life of a garment. Each item of clothing was constructed specifically for this shoot to illustrate how purposeful a garment can be when the versatility is part of the design process. Make…

Daylight is my Delight

Daylight is my Delight is a new dance collaboration between New York photographer Jody Rogac and Vancouver choreographer Kara Hornland. This sixty second short film was shot on 8mm in Brooklyn during the fading light of a February afternoon. It features three dancers ranging in style and experience who meet together for the first time and dance…

Denise Kupferschmidt

Denise Kupferschmidt’s minimal visual vocabulary invokes Primitivism and earlier forms of ancient iconography. Through her simple outlines, which she calls Crude Idols, Denise communicates complex ideas efficiently and instantly. “People tend to project more complicated ideas on simple forms,” she says, making work about fundamental polarities of good and evil, masculinity and femininity. Denise also has a special appreciation of paper, using aged stock from old books for her printmaking, or building totems out of paper cut-outs. Denise is a time-traveller artist, borrowing language tools from Mesopotamia, yet making visual art that functions as instant-messaging.

Alix Vernet & Arielle Chiara’s Water Damage

Images courtesy the artists and Soft Opening, London. Photos by Theo Christelis. Written by Zoe Koke Water Damage is on view at Soft Opening, 4 Herald Street, London, until March 31st.  Minimalism sought to erase the artist’s hand. In the late 60s, Minimalist sculptors responded urgently to the domination of Abstract Expressionism in the art world….

Claire Milbrath’s Love Letter to a Cardsharp

PUBLISHED IN ISSUE 18 By Claire Milbrath Banished from Rome for murder, Michelangelo Caravaggio packed up everything he owned and boarded a ship sailing far from trouble. The boat took a pit stop on a remote island, and Caravaggio hopped off to stretch his legs. While strolling along the beach, a Spanish garrison officer mistook him…

CHAI: Don’t Judge Me!

CHAI is a four-piece girl group from Nagoya, Japan, consisting of twin sisters Mana and Kana, and their friends Yuna and Yuki. CHAI wants to use their music to present their new genre, “NEO-kawaii,” and their “complex is art” worldview.

At Home with Victoria Dailey

PUBLISHED IN ISSUE 19 Illustrious writer, curator, lecturer, Victoria Dailey gives us a tour of her Los Angeles home and closet. Photos by Logan White. Assistant: Lena Melillo Read some of Victoria’s work here. See our article on Logan White’s photography here.