compound magazine issue 1

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compound.

O U R S T A F F E D I T O R - I N - C H I E F

Kayla Squelch C R E AT I V E D I R E C T O R

Dorota Stanczyk W R I T E R S

Kayla Squelch/Reuben Tasker C O V E R D E S I G N

Kayla Squelch E D I T O R I A L D E S I G N

Kayla Squelch P U B L I C AT I O N & P R O M O T I O N

Sabrina Elhady C O P Y R I G H T © C O M P O U N D B A R C E L O N A 2 0 1 6

C O N T R I B U T O R S

REUBEN TASKER S T A F F W R I T E R

Reuben is a talented writer specialising in Music and Events. His enthusiastic approch to writing gives the stories he tells an extra dimension of authenticity.

DOROTA STANCZYK C R E A T I V E D I R E C T O R

Dorota is a Polish visual artist, filmmaker, photographer and art director. Dorota Stanczyk studied at the College of Applied Arts Duperré in Paris.

SABRINA ELHADY A S S I S T A N T E D I T O R

Sabrina is a Swiss entrepreneur with a strong sense of style and attention to detail. She sources engaging content and is in charge of distribution.

F R O M T H E E D I T O R

his is the very first edition of Compound Magazine, a project we started to visually tell stories of people from Barcelona and around the world.

You’ll find an exploration into the redefined Poble Nou neighborhood with photos from Dominique Aizpurua. A feature interview with Dorota Stanczyk, an extremely talented visual artist from Poland as she talks about her life and creative process, collaborations and current projects.

We have news on the latest trends and tips for the season to help you get ready for the months ahead. Plus an article about the city of Barcelona itself (with incredible arial drone photographs contributed by Sean Strecker), as it has a huge influence on a types of people we collide with on a daily basis and is a breeding ground for unexpected ideas. Finally, a first hand account of a night at Reckon, written by our fresh and enthusiastic staff writer Reuben Tasker, who eloquently explains what it’s like to party with a crew who really knows what they’re doing when it comes to music.

This is the first taste of many more editions to come, we hope you like it!

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Kayla Squelch

C O N T E N T S

C O M M U N I T Y

0 8 P O B L E N O U A town under tight transformation 1 5 T H E H O T L I S T Find out what you should be looking

at this season

I N T E R V I E W

1 6 D O R O TA S TA N C Z Y K Polish visual artist & designer

S H O W C A S E

2 4 C U R AT E D Style tips, design showcase, local talent

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F E A T U R E S T O R Y2 6 B A R C E L O N A C A L L I N G The Catalan capital awaits

E V E N T S

3 4 W H AT W E R E C K O N Underground underdogs

A D V E R T I S E M E N T

P O B L E N O U

A T O W N U N D E R T I G H T T R A N S F O R M A T I O N

Spanish Civil War all generating a lively unrest. Impoverishment and bruising economic disinterest in the mid-60s meant that by 1970 the dream was over, and Barcelona’s secret weapon had run its course. Just two years before Barcelona were to host the Olympics, 1,300 factories had been closed, leaving a gaping hole in the fabric of the city. But the village wasn’t quite finished there.

Now, the town, which once served as a cold reminder of Barcelona’s peak productivity, is the most mysterious neighbourhood in Barcelona. Generally hushed and quiet yet a construction tool can be heard sporadically, Poblenou is Barcelona’s Urban District. What’s most interesting is how how it’s earned this title. The large buildings aren’t churning out fibreglass and tanks any more, instead the area is a grid of creative space. Whether it’s Chez Xefo, a petite contemporary art gallery

A cursory glance at the unlikely town that armed Barcelona, peaked industry and operates as a secret centre.

Words by Reuben Tasker, Photography by Dominique Aizpurua

We have to thank the Industrial Revolution sometimes. Photography, canned food and anesthesia all owe their place in society to the bold chaos that was late 19th Century

development. The first Spanish city to fully embrace the revolution, Barcelona had the hardworking populace to boot, and saw a huge turnaround thanks to it. But the town that it owes much of its progress to is El Poble Nou. During Barcelona’s toils through the revolution, the neighbourhood acted as the ‘Catalonian Manchester’: the key industrial town. The thousands of newly-constructed factories, plants and workshops mirroring the booming success of the UK’s burly North. Yet the town was never shy of drama. Metropolitan unrest soundtracked the ultra-productivity of the barrio, with strikes, prolific leftfield political activity and the centre being used as ammo for the 1936

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which invites electronic experimentalists to play nights or Barcelona’s blockbuster club Razzmatazz, that takes its name from a Pulp record and takes residence in a huge factory structure. The anarchist spirit that ran through the 20th Century endures, with associations and creative spaces hosting their own guerilla DJ nights, whilst squatters reside in the spaces in between derelict factory floors.

The town isn’t just concerned with showcasing art, it’s producing it too, by the truckload. Creative spaces Atta 33 and Fab Lab serve as some of the industrial ambassadors focusing on art for nationwide production. The two operate as design and co-working studios, using the art world’s latest inventions to produce and reproduce samples for clients wordwide. By acting as hosts as well as originators to the art that often adorns their industrial interiors, they act as two of the town’s

establishments, Blended in like paint alongside fairytale hotels and abandoned structures with shattered windows.

The turnaround is indebted to 22@. Starting at the turn of the Century, with Barcelona still soaking in the newfound economic fruition of the ‘92 Olympics, the government initiative strived to transform the area into a base of information, communication, technology and cultural venues. The project is huge, spanning all of the town’s 115 blocks and 200 hectares. There’s big success too, the initiative has earned its place as something of a global case study. Yet internal drama persists. A story all too familiar: residents and families that have endured through Poblenou’s rowdy history are fearful of gentrification driving them from their bed stay. Concern also stems from renewal and regeneration whitewashing the location’s

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“The town isn’t just concerned with showcasing art, it’s producing it too - by the truckload.”

A B O V E & R I G H T Lucrecia Dalt performing at one of the man cultural associations. Slum Villiage perform at Sala Razzmatazz.

F A R L E F T A sun-kissed view of Torre Agbar framed by the roof of the newly re-designed Encants Market.

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vibrant cultural heritage, 22@’s aims are kept clear, yet there’s skepticism of how bureaucratic this turnaround really is. The rickety story of Poble Nou at first seems like a familiar tale: city wishes to redevelop a former industrial hub that has fell into dissolution.

As Zoe Koven writes ‘what makes [Poblenou] unique and successful … is the explicit intention to integrate all of its parts.’ It’s an assessment that rings true. At least from a pragmatic perspective, the Poble Nou has had a resurrection. And there’s a future here that can’t be foreseen in data spreadsheet or a 5 year sales plan. It’s easy to scrawl on ‘the Brooklyn of Barcelona’ or ‘the Spanish Shoreditch’ into a comment thread. What’s difficult is putting a label on a moving object.

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Our staff picks a selection of trending topics.

G A L L E R Y P I C K

M U T U O

Mutuo is Barcelona’s intriguing art space. Exhibiti ng and selling art and design work from independent arti sts and creati ve producers in the city of Barcelona; the space provides both arti sts and guests with a platf orm for exchanging ideas and art. With events this year including an aft ernoon with musician and composer Santi Aysine and a retrospecti ve of fantasial arti st Jorge Gi, Mutuo is the place to be for those curious in Barcelona’s ever-inventi ve art scene, never miss it.

O N T R E N D

M E TA L L I C S

Gold and silver have been used since ancient ti mes for the clobber of kings and queens. Their texti les have been locked away in museum vaults and castles for years, yet the allure of wearing metal is more alive than ever in 2016. Championed on runways from Laurèl and Joe Fresh and produced by the pound by Lurex: a look with a metallic glow has become a fl ourescent staple in shows and showcases. With re-appearing metallic apparel fabric, embroidery and even military regalia, the glossy aestheti c is trending.

W O R L D L Y T R A V E L S

M A LTA

Malta is the Mediterranean hotspot you haven’t been to, but should start to consider. Minus the crowds and tacky nightclubs but keep the beauti ful beaches, glorious sunsets and friendly locals. This island is a colourful example of relaxed European style, with plenty of fi shing boats, classic cars and beauti ful arquitecture. Consider this desti nati on for your next weekend getaway and you won’t be dissapointed.

T H E H O T L I S T

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T H E I N T E R V I E W

D O R O T A S T A N C Z Y K

CREATIVE DIRECTOR

Dorota Stanczyk is a talented visual artist from Poland with a stark, original sense of style and contrasting aesthetic presentation. She works with multiple disciplines as a creative director on projects ranging from music video direction to company brand-

ing, always bringing fresh concepts to her assignments.

Q: What made you decide to move from Poland to France to go to art school?

Well, I always loved the idea of unknown, and I have always been very ambitious. I’m someone who loves to improve as much as I can and I truly believed that there was not a public fashion school good enough school for me in Poland at that time. It was not something I planned for years, after my

high school exam, I got into a fine arts academy in Poland and I was like nah, thats not enough.

For me, fine arts was just not enough. I couldn’t imagine spending hours at the atelier making drawings, I wanted more contact with people. I wanted to do something for other people, with other people, and do some kind of bigger creation.

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Fashion sounded to me then like a good compromise, being able to create and sharing creativity.

Then it was a huge hesitation between London or Paris, and I guess I just loved the idea of the French way of things, Paris and this dream which was almost like impossible. And that’s why I wanted to try. I told myself that’s the best thing I could think about. If it works amazing and if it doesn’t work then I figure out something else. So it was a very spontaneous decision.

I left to paris and I spent one year learning Fench, to pass the international exam of foreign language to be able to study in a French university. I then I applied to the one and only public fashion design school in Paris, which has only 40 places. Maybe two or three thousand students fight for the places, and I was accepted.

Q: How did living in Paris and studying there affect your artistic style? Do you think it had an impact?

No, to be honest. I think what it did have an effect on is that I learned how to work very hard. I learned a lot of brilliant skills my teachers gave me, but most of all I learned conceptual thinking which was actually the purpose of this school. It was all about teaching you how to think, how to think about the art, how to create art, how to reconstruct art, how to do all sorts of conceptual approaches and that is something I wouldn’t have without this school for sure.

For example if in a project you were supposed to do everything white, I would do everything black. But if I was able to explain that, they would accept it. It was all about being able to explain your own work, that was the

most important thing. Almost more important than what you had actually created. This is such an important thing in contemporary art, the concept. So the process of thinking I learned in that school was extremely useful and is still extremely useful in all my creations.

Q: What were some of the challenges moving from school into the professional world, working for yourself?

I started working creatively for myself during my studies, so it wasn’t like this was a huge change of worlds. I created my company in Paris while studying so it was a smooth move. What did happen that completely changed my life was when I decided to take a break from that world and I left to go traveling. This brought

B E L O W Using body paint as a means of transformation during a photoshoot.

A B O V E Projected shapes onto a model.

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A B O V E On set directing a conceptual music video for artist Lila Rose.

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something completely different to my art, different impacts and this is how S.E.W.N. Into The World was born. This also made me realise that travellng for me is almost as important as work so I always try to find a compromise to have both in my life..

Q: Can you tell us a bit about the concept behind your project S.E.W.N.?

S.E.W.N. is a social art project that explores identity, integration and union between people and this world. The letters in S.E.W.N. stand for South, East, West, North. Participants are photographed at locations all over the world wearing a printed picture on the t-shirt, so they are completely integrated with the background.

It’s a story about how people integrate with the planet. It’s more than the art project, we are creating a community of people who have the same values and the same ideas, simply to make this world a better place. I hope we will have more of these kinds of social projects and we will be able to communicate our values via different projects or movies like this.

Q: What is your favorite artistic medium to work with?

I think video, because I can do everything in it. I have to do scenography…I have to do clothes…I have to do makeup, I can even do some painting in it. Not all myself, but I do work on the concepts. Everything is possible in movies, so thats why I like it. It puts all my skills together.

Q: Where do you get your inspiration for new projects? Where do you go to look for new ideas?

I always look at lots of magazines and online galler-ies, just to keep myself thinking creatively. You don’t even realize your brain is remembering everything, so sometimes you get an idea which is a mix of things from over the years. It’s just there. When I work for a music video, for example, I will just listen to the music, close my eyes, listen to my intuition. I see the first images appearing in my head and im-agine what I could do. So it’s not so much where I go to find inspiration, it’s more like I really go into myself and see what I can think about. Most of the time I just take pen and paper, write it all down or draw it and just think about some crazy conceptual visions. This always the beginning.

Q: Do you prefer to work alone or in a team?

It’s a tricky question. You just have to choose people carefully. I’m not a person who loves working just by myself in the studio, I can, but I also like working with other people. I think it always makes you progress more and discover yourself from different sides. When you work with other people you push things farther. But I have very strong taste, so I very carefully choose the people I work with to be sure that we have the same style.

I really have to like someone’s work and they have to like my work as well. If we both individually like each other’s style, then we know that working together might create something extraordinary. But if someone comes me to wanting to create

“I’m very rarely satisfied from the final work I do. It’s more the process, the

whole process of creating which makes me very happy and satisfied.”

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R I G H T Still from the music video for Kill Freeman’s You Wanted directed by Dorota Stanczyk.

B E L O W Projection based video project.

L E F T Makeup for a music video shoot in Berlin, Germany.

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something together, and I haven’t seen anything that they’ve done, there can be a lot of misunderstandings with diff erent tastes.

With video projects, there will be always one person who will lead. There has to be one leader who is in charge and the others who work on all the concepts, executi on, etc. Because if there are two leaders, its not really possible to have a clear directi on. However design wise, I love working with other people.

Q: What’s your favorite part of working in the creati ve industry?

I think the creati ve process in itself, not the fi nal product. I’m very rarely sati sfi ed from the fi nal work I do. It’s more the process, the whole process of creati ng which makes me very happy and sati sfi ed. This ti me with people, sharing this act of creati on with other peo-ple. Most of the ti me it takes months of work so when we actually fi lm and we are on the set creati ng things, we are creati ng this new world. Everybody has such an amazing energy and that is probably the most beauti ful moment. And aft er that it’s days and days of edit-ing…so that’s less fun (laughs). I do like doing manual things as well, or traveling with someone shooti ng fi lm. These kinds of things are brilliant.

Q: What advice do you have for people just starti ng out on their creati ve journey?

I would say never doubt in yourself and what you love. Do whatever you love. Do whatever brings your true sati sfacti on because that is the thing that will make you a truly happy person. Don’t let your-self or other people destroy your dreams, and don’t be afraid. Don’t be afraid to try or afraid of change or afraid of not having enough money. Just believe and try fi rst, and if you truly believe and you do what you love there is no way that you can fail. Because when you love to do something you will always get very good at it. That’s what I believe.

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G R O W S O M E C O L O U R

Spring is the best season to get dirty and plant some seeds! Use what you’ve got (empty bottles, cans, old cups) to make planters, grab some soil and you’re good to go! In a few weeks you’ll have an array of colourful new friends to brighten up your apartnment. Or go the edible route and plant some herbs - just don’t forget to water

them!

S U P P O R T L O C A L

This is a fantastic season for local markets and artisan crafts. Almost every weekend you can find somewhere that creators near you will go to sell their wares. Find one-of-a- kind gifts, vintage clohting, and delicious produce Here’s to helping your neighbors

and supporting the local economy!

G E T O U T S I D E

Shut off Netflix, chuck on some running shoes and go to the park. Finally the cold is fading, the birds are singing and the baby animals are freeing themselves from their mothers wombs. Go play with a puppy and

frolic in the grass!

D I Y S E A S O N

Another great advantage to the moderate spring temperatures is that it’s the perfect time to get started on those oh-so-simple DIY projects you’ve been saving up all winter. Before the scorching heat of summer is upon us, get to your local craft/hardware store, stock up and get busy! The time is

now!

S U S T A I N - Y O U R S E L FG U I D E

S P R I N G I S H E R E - P R E P A R E A C C O R D I N G L Y

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F O R S P R I N G

The sun is fi nally out and you can start to ditch your scarves for statement jewlery, pop on a bowti e before you head off to your next garden party and pull up those colourful socks! Trade your ski-goggles for sunglasses, get out and enjoy this season in

style.

1 / T-SHIRT Krizia Robustella Spring 2016. 2 / MAXI SHIRT/SWIMSUIT KLING Madrid 3 / BOWTIE Lebowti e Barcelona 4 / NECKLACE Hallo Gallo Shop 5 / BACKPACK Pinzat Handmade Technical Bags 6 / WATCH Komono Belgium 7 / SUNGLASSES Valley Eyewear Australia. 8 / PENGUIN Flat Pet by Garudio Studiage 9 / SOCKS Happy Socks

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S H O W C A S E

arcelona has a heart that beats a little bit stronger than most of the world. A river that rages on whether you’re ready for it or not. One step out of your front door and there really is no telling where you’ll end up. Once

you feel this energy and get used to its rhythm, no matter where you go, you’ll find it hard to adjust to life anywhere else.

The Catalan capital is decidedly alive, pulsing with colour, a place that is unapologetic in its continuous celebration of life. Expect to hear drums beating well into the night, prepare yourself for fireworks and parades. Like a beacon to others of what the good life should look like - selfies from the beach, rooftops at sunrise, and a relaxed approach to just about everything.

The easy pace of life here can be both a blessing and a curse, as the comfort can leave you not striving for anything at all. It’s easy to live your days and nights in peace, eating and drinking with friends, watching the sunset and sunrise as the days slip by from one to the next. Money isn’t so easy to come by here in a country that was heavily affected by the global financial crisis. You’ll learn to count euros fastidiously but also learn the true value of the things that money can’t buy.

Bar jobs and call centers can be a drain on your energy and patience for literally just enough to get by. A stepping stone, for sure, but the real opportunity comes from making your own business work. And the opportunities are everywhere, if you keep your eyes open.

B A R C E L O N A

C A L L I N G

T I M E T O Q U I T Y O U R J O B A N D N E V E R L O O K B A C K

Words by Kayla Squelch

Special Thanks to Sean Strecker for the Arial shots of Barcelona

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Immersing yourself in the rich cultural history of the city is inevitable (not that you’d want to avoid it). You’ll see brilliant examples of the infamous Modernist architecture juxtaposed alongside classical gothic buildings and contemporary sculptures. The footprints of years gone by still leave their marks and the stories they tell shine light onto the shape of the city as it stands today. Many buildings were destroyed but meticulously restored over the years back to their former brilliance, waiting to be acknowledged.

In the summer a flood of new faces can all but drown you as you push past hoardes of international visitors trying to make your way around the city. Take it how you will, but the chance meetings in bars or on the playa can lead you places you’d never expect. The strangers you meet will soon become lifelong friends, even as you separate for years at a time. It never hurts to be associated internationally with a wistful memory of a trip to Barcelona, and you can expect to be welcomed with a home cooked meal or couch to crash on in all the four corners of the globe. When people ask how you met, a knowing nod to the city that brought you together is all the explanation needed.

F R O N T P A G E Arial shot of Sagrada Familia (Sean Strecker) L E F T Homenatge als castellers by Antoni Llena.

T O P R I G H T Handprint Sculpture & Catalan Symbols B O T T O M R I G H T Signature Mozaic Tiles

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F E A T U R E S T O R Y

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Sometimes all you need to get started is a bit of inspiration. And if nothing else, the city of Barcelona inspires. Sometimes all you need is to be surrounded by a little bit more insanity, unfamiliarity and colour. It’s hard to put your finger on what’s missing from your life until you find it, and then you wonder how you ever went without.

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B O T T O M L E F T Building windows with flags in the old part of the city

A B O V E Full stadium at Camp Nou Barcelona during a football match

“The Catalan capital is decidedly alive, pulsing with colour, a place that is unapologetic in its continuous celebration of life.”

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of an Iberian village), following other gossiping guests, I’m at the bar to the side of the dance floor, watching a variance of ambient, house and techno being stirred together seamlessly. Tonight’s performers are rising Venezuelan DJ Omar M, alongside Rex Club resident (slash Birthday girl) Molly and headliner Julian Perez.

As EDM events conglomerate SFX Entertainment files for bankruptcy, and Simon Cowell’s ‘Ultimate DJ’ (dubbed the ‘World Cup of EDM’) being vetoed before premiere, Reckon snidely finds itself as an unruly yet peaceful protest against the plastic nature of EDM culture. With plenty whistles, cheers and claps, the night’s a necessary opportunity: to see focus in a culture brimming with excess, living as something rarer

‘The world of Reckon is both nostalgic and new, dancing with both, belonging to neither.’

In a long, dark room, a trio of DJs are all trying to take clubbing and electronic music to some new kind of extreme. Dancing under clouds of dry ice, the crowd is just as diverse

as the programme: everyone from student ravers to HBA-donning cool kids, all shaking a leg under the same spectral screen projections. You could guess this is a techno-savvy Brooklyn bloc party or maybe a Berlin electronic showcase, but you’d be wrong.

We’re in Poble Espanyol, a discrete town in the hills of Barcelona’s Sants-Montjuic district. I was just in line outside the town’s fortified castle walls. After a steady ascent through the hushed streets (architectured to resemble the calles

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than another flyer handed to you reluctantly.

In a city where underground producers and promoters wrestle to find an audience with the nightlife’s good, bad and ugly, it’s endearing to see hundreds grooving to a rolling house loop. It’s loud, bass-heavy, adorned with lasers and fog. The walls are blacked out, with scattered flyers for other guerilla parties, fighting to keep the sound of the underground blaring into Barcelona’s playlist. It’s like being at somewhere halfway futurist discoteque, halfway hazy blast from the past than a formal electronic music event. The world of Reckon seems both nostalgic and new, dancing with both, belonging to neither.

It’s bustling tonight. Yet it’s not what club edits Julian or Molly will sequence in their setlist that’s pulling crowds: it’s how the concept of a club night can be meticulously rearranged. Conceptually, Reckon defiantly

refuses tropes expected from European nightclubs-- shisha-littered VIP sections, theatrical bottle service and hundreds of ambiguous guestlists are all taboo. The mission statement is ‘no bullshit’. Yet there’s also a healthy ambition to put on a show. A huge disco ball watches over the dancefloor, reminding everyone what they’re here for. Meanwhile, lights strobe, smoke billows and even the bathroom mirrors feature in-built, bright coloured projections, meticulously synced to the dancefloor’s swerving rhythms.

With regards to what’s being played, the night isn’t too worried. The team are passionate, but not neurotic with guidelines. ‘I cannot say if it’s gonna be really housey or techno cos I don’t really know’ Perez told me before he took the stage ‘I don’t choose the records I’m gonna play [beforehand]’. It’s evident genres and tags are just not what’s on people’s minds here, and the DJs booked aren’t shying away from experimenting. Omar M ups the tempo several times, spinning faster more daring instrumentals that one might not expect from a rising name. Perez drenches several of his songs with waves of dub-techno (a genre he’s been dabbling as of late) whilst Molly halts a tumbling techno track at its climax, allowing a round of applause before throwing everyone back into the deep end with the next number. Soon after, the team give a jovial happy birthday singalong to her behind the decks, complete with candles and cake. With something of a counter-culture of over-analysis and labelling enveloping electronic dance music, it’s cathartic to step into a room where for about 4 hours, where none of it really matters.

A personal strive for greatness is what motivates Reckon’s crew. Omar M’s opportunities to flex his skills in his homeland go in vain without a place to do it. ‘We don’t have a huge underground scene right now; he explains, ‘it’s bad because [people are] believing something is underground and it’s

A B O V E Molly representing Paris at Reckon

F A R L E F T Crowd enjoying the music at Reckon

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sporadic source material. Such criti cism are unfair for a venue as unique as this. In reality, it’s only at night when the village’s heart begins to beat.

It’s reasons like this why Reckon has its sights set bigger than Barcelona. The organisers are crypti c, trying to not give too much away, but they promise big plans and success in the new year. For tonight though, The One will do.

not’. But it’s clear by his third night performing here that he’s found a venue he feel his country needs, ‘I support it with love all the way. So, well, it’s always going to be special to me’.

I step out into the smoking area: a small plaza with a trickling fountain. There are about 30 people out, laughing and gasping. If, somehow, you didn’t see the buzz, lights or spectacle inside, you can hear the excitement here. It even adds a touch of irony to the party’s venue. Poble Espanyol, though fanciable, is something of 2D vignett e during the day. Some walls have painted on windows and the town is recognised by locals as tourist bait for those unable to travel to its

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B E L O W Venezuelan duo Moreon & Baffa

R I G H T The One Barcelona from above

L E F T Anthea and Whoann together on the decks

P R E V I O U S P A G E Martinez plays to a full house backed by the re-vamped audiovisual setup

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