sixth finger magazine issue i

3

A year ago or so, I caught myself playing with an idea to create a magazine about art and fashion. It all came out from a selfish need to create something that I would enjoy reading myself. So I started to experiment with new formats of magazines. Coming up with ideas, thoughts. I was trying to find new ways and as its usually hard, the greatest ideas come from impasse. Sixth Finger is not a serious magazine. How could it be? After all, its’ content is fashion and art. Two things you can't take seriously in life.

This magazine is not just a magazine. In a way, it's a platform, where creative minds come together from all over the world with one common goal – to strive for better. At last but not least, I would like to take this opportunity to thank everyone who was part of our first issue. I hope for the next time there will be more of us.

Jakub KubicaDirector & Editor in Chief

www.sixthfingermagazine.com

SECTION COVERGIRL COVERGIRL: SASKIA DE BRAUWILLUSTRATION JAKUB KUBICA

Get yourself togetherLet the light pour in Pour yourself a hot bath, pour yourself a drinkNothing's gonna happen without a warningDown is the new upWhat is up, buttercupDown is the new up, is the new up

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uncertaintyuncertainty

uncertaintyuncertainty

doors

exit

cold

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sun

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pure

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SECTION FASHION/PORTRAIT TEXT KAROL PALINKASPHOTO WIKI, INTERNET

12

JASON WU

The Taiwanese born designer took an early interest in fashion, sketching bridal dresses he saw in a local bridal shop. Observing her son’s creative talent, Wu’s moth-

er sent him to arts-friendly Vancouver, British Columbia, where he would pat-ter his first designs for dolls as a nine year old. Wu continued his career path as a sixteen year old, by learning to cre-ate freelance doll clothing designs for a toy company called Integrity Toys, under the line of “Jason Wu Dolls”. The follow-ing year, Jason Wu was named the cre-ative director of Integrity Toys and later partner, position he hold to this day.“It’s all about construction and very pre-cise detail, in a miniature form,” he told a reporter in 2005.

EARLY DAYSAs Wu’s eager to design was growing, he launched his very first read-to-wear collection in 2006. In 2008 he was nom-inated for the CFDA (Vogue Fashion Fund Award), where he caught the eye of Vogue’s editor-at-large, Andre Leon Talley, who had been advising the ap-pearance of the current First Lady, Mi-chelle Obama. She bought four dresses from Wu early in the year wearing one of them for a segment on Barbara Walters Special, shortly before the elections. But the dress that made the headlines, was the custom designed, one shoulder, floor length, white chiffon gown Obama wore at the inauguration of the Pres-ident Obama in 2009. “I was over the Moon. I know I am an unusual choice for a First Lady. I didn’t think it was my turn yet,” said Wu to the New York Times.Since that moment, Jason Wu, became an overnight sensation.“Did that put me on the map? It certain-ly did, but I always say, to do something

like that, you really have to back it up with more hard work”

And so he did. Four years later, having the First Lady as one of his regular clients, she wore another Wu cus-tom-made dress. This time, it was a ruby red velvet and chiffon design worn at yet another Presidential Inaugural Balls in 2013. It might have turned someone else’s head, but Wu’s. He still keeps his eye firmly on the road ahead.

FALL/WINTER 2014Having shown his 2014 Fall/Winter collection at Mercedez Benz New York Fashion Week, he embraced a sensuous silhouette with silky dresses as well as more menswear inspired separates. As Wu states: “In my shows, there’s al-ways been a uniformity and neatness.”Steeped in a color palette of neutrals ranging from the deepest of black to light champagne, the Wu woman wears velvet dresses, pleated skirts and slouchy trousers for the upcoming fall.

He says he dreams of working in a pas-try shop and admits to sometimes fal-tering under the pressure and expecta-tion. “So many times,” he says, “I’ve felt ‘I can’t do this.’ ”Perhaps, but there’s many people in-cluding me that have every confidence, that Wu will continue in his reserved and astonishing way, to make clothes for a particular kind of connoisseur of fashion. “The women who buy my clothes have discerning taste,” he says, with quiet pride. “My customer isn’t buying my clothes because famous peo-ple wear them.”

Jason Wu’s incredible trajectory is a classic story of an American Dream.

13

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The gown turned heards, but not Wu's

Fall/Winter

14

1. MICHELLE OBAMA

2. JASON WU BACKSTAGE SPRING 2013

3. JASON WU 2012

4. JASON WU SPRING 2013

5. JASON WU WINTER 2014/0151

3

2

15

4

5

16

SECTION FASHION/COLLECTIONS ILLUSTRATION JAKUB KUBICATEXT KAROL PALINKASPHOTO GORUNWAY

CHANELChanel’s creative director, Karl Lagerfeld imagined the whole world as a megastore under the sign of the double C.The moment when Cara Delavigne opened the show in sneakers and a raggy, pink tracksuit, it was obvious that this collection was a continuation of his couture collection shown earlier before. “They had to continue” says the creative force behind the brand. The catwalk accommodated very unusual silhouettes and fabrications with an incredibly huge amount of options. After all, with today’s overwhelming extravaganza, he proved his point – fashion is a supermarket. So you might as well shop.

19

DETAILS

20


MOSCHINOAfter the announcement of the new creative director, Jeremy Scott, everyone was impatiently waiting for his first 2014 Fall/Winter collection.Kicking off with a silly series that riffed on McDonald’s with a french fries-inspired mink bathrobe coat, a four–pocket jacket bearing the slogan “Over 20 million served” and a chain–handle bag carried out on a brown plastic tray he held nothing back. Then there were duffle bags, boots, sweaters, pants and coats printed with the face of SpongeBob Square Pants, a Budweiser cape worn with fluffy red heels, gowns made of giant candy wrappers, and finally, a wedding dress upon which a nutrition label was largely printed.Scott’s ideas translated into a collection that was bright, playful and genius. Well done.

23

DETAILS

24


ALEXANDER MCQUEENLee McQueen often claimed that he felt obliged to offer his audience, drained by weeks of shows, something spectacular to reanimate them. Sarah Burton’s inspiration was “Wild Beauty.” As she insisted, she was over construction, corseting and control. “I wanted to see the woman’s face again, free her a bit, touch her, feel her.” So her fall Alexander McQueen collection was built on a child’s fantasy. She mainly focused on the fairytale aspect – the magical quality of delicately embroidered organza, coats composed from hand–cut feathers to create the illusion of wings. But in every fairy tale, innocence is always in conflict with a wolf or a witch and that also came across in Burton’s collection. One model was owl–like in a swooping fur cape. Another was swathed in skunk, with fiercely feathered eyes. As Burton’s heroines journeyed from the shadows into the light, she heightened the enchantment with strokes of color – deep, brooding green and purple. Magical.

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DETAILS

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GARETH PUGHThere have been moments in Gareth’s career when it felt like he was the weirdo Prince of Goth. Not this fall.The first look of his 2014 Fall/Winter collection was a white dress, its’ full skirt made of densely folded pleats. Continuing with white, a matching funnel-neck cape and extra tall 10 gallon hat topped off the opening look. From there, Pugh whipped up cloud-like white robes, regal dresses done in savage furs. Oversized tunics with a giant funnel neck was worn over matching baggy thigh high boots which had a mirrored silver treatment, making it look like plastic. The raw materials gave the look a DIY postapocalyptic cast, which was not gloomy but bright in shades of optic white, ivory and mirrored silver.

31

DETAILS

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LANVINSometimes one must go to extremes. That was the state of mind .Alber Elbaz found himself in, as he worked on his fall collection. “We used to be a dream factory. I want to go back to that dream factory that fashion was all about.”said the designer. They led him to the rule of practicality. Throughout it flowed sometimes via an extreme volume, where proportioned dresses and coats were of thick, tribal tweeds. Other pieces were of extreme simplicity, showing a series of thin, washed, silk gowns in navy, black, cosmetic pink - all worn under grand, feathered picture hats. Elbaz drove consistently to the point, punctuated by an infatuation with fringe and fur. Magnifique.

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DETAILS

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WALTER VAN BEIRNDONCKWalter Van Beirendonck’s fall collection was bursting with color, including an eclectic mix of patterns and textures. The Belgian fashion designer sent down the runway well-cut jackets and shirts, often emblazoned with stripes and his usual fetish references — a combination of exercise leggings or shorts and trousers of various materials.Accessories included felt helmets as well as chunky fabric necklaces and bracelets. The collection’s clear takeaway was Van Beirendonck’s anti-racism message, literally emblazoned on some models heads and on towering feathered headdresses — stop racism.

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DETAILS

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THOM BROWNEThom Browne stayed true to his atheistic. His 2014 Fall/Winter collection consisted mainly from tweed menagerie, in which the models walked the runway inspired by a faux Japanese garden wool suits in the designer’s signature grey.The first part of the show included some suits that Browne paired with shorts, others with kilts but all topped with some sort of animal headwear (rabbit ears, wire elephant heads and deer antlers)The second half of the show did away with the animal theme in favor of sumo proportions, where wild, oversized patterns were matched with the outsized silhouettes.

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DETAILS

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KTZ“Spiritual and secular, something old and something modern,” that’s how Pejoski describes his 2014 Fall/Winter collection. His main inspirations were Hindu, Himalaya, holy and hockey.As the models walked the runway, their faces were silvered as thought by ash, but the effect the designer was aiming for was the look of old black and white photographs of explorers in the Himalayas.The fashion included wrapped, voluminous silhouettes, the padding and quilting was exquisite and the embroiled and mirrored embellishments were just incredible.

47

DETAILS

SECTION ART/PORTRAITTEXT KAROL PALINKASPHOTO WIKI, INTERNET

58

JEAN COCTEAU

He left home at fifteen after his father committed suicide. When only nineteen, he published his first volume of poems called Aladdin’s Lamps, which later lead

him to a successful road of becoming one of the best-known French poets. His circle of associates and friends in-cluded Pablo Picasso and Edith Piaf. Cocteau was asked to write a scenar-io for a ballet, which later resulted in the Parade in 1917, his dear friend and favorite actor, Jean Marais played in almost every one of his films and Coc-teau himself was a part of a French group of composers called Les Six. To-day, in 2014 he is considered as one of French’s best poets, novelists, drama-tists, designers and filmmakers.

EARLY LIFECocteau was born in Maisons-Laf-fitte, Yvelines, a village near Paris, to Georges Cocteau and his wife, Eu-génie Lecomte; a socially prominent Parisian family. His father was a law-yer and amateur painter who commit-ted suicide when Cocteau was nine. He left home at fifteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twen-ty-two. Edith Wharton described him as a man «to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City...

In his early twenties, Cocteau be-came associated with the writ-ers Marcel Proust, André Gide, and Maurice Barrès. In 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes; the principal dancers being Tamara Karsavina and Vaslav Nijinsky. Dur-

ing World War I Cocteau served in the Red Cross as an ambulance driv-er. This was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amed-eo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresa-rio Sergei Diaghilev persuaded Coc-teau to write a scenario for a ballet, which resulted in Parade in 1917. It was produced by Diaghilev, with sets by Picasso, thelibretto by Apol-linaire and the music by Erik Satie. The piece was later expanded into a full opera, with music by Satie,-Francis Poulenc and Maurice Ravel. “If it had not been for Apollinaire in uniform,” wrote Cocteau, “with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins.” He denied being a Surrealist or being in any way at-tached to the movement.An important exponent of avant-garde art, Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popu-lar bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau and his friends.

Jean Cocteau died at age 74 on Octo-ber 11, 1963, leaving behind seven films that have become French institutions.

Born in a village near Paris, Jean Maurice Eugenie Clement Cocteau was a homosexual, who made no attempt to hide it. But he was so much more than that.

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LE SANG D’UN POÈTE (The Blood of a Poet)

1930

1943

1946

1948

1950

1952

1957

1960

L’ÉTERNEL RETOUR (The Eternal Return)

LA BELLE ET LA BÊTE(Beauty and the Beast)

L’AIGLE À DEUX TÊTES (The Eagle with Two Heads)

LES PARENTS TERRIBLES (English title, The Storm Within)

ORPHÉE (Orpheus)

LA VILLA SANTO-SOSPIR

8 × 8: A CHESS SONATA IN 8 MOVEMENTS, CO-DIRECTOR experimental film

LE TESTAMENT D’ORPHÉE (The Testament of Orpheus)

Filmography:

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Andy Warhol Jean Cocteau, 1983 Unique Screenprint and Colored Graphic Art Paper Collage 34 3/4 x 29 inches With the Estate of Andy Warhol & the Andy Warhol Foundation for the Visual Arts Stamps & Numbered with the initials of Vincent Fremont on verso.

“Art produces ugly things

which frequently

become more beautiful with time. Fashion,

on the other hand, produces beautiful

things which always

become ugly with time.”

“There are too many souls of wood not to love those wooden characters who do

indeed have a soul.”

SECTION ART/PORTRAIT TEXT JULIE PAZDERKAPHOTO WIKI, INTERNET

62

RYOJI IKEDA

There might have been one or two students intrigued by the way the numbers would fit perfectly into the equation, only to either stop it or enlarge it.

Adding the physics and biological perspective of sound to the equation, your senses are put to a most intrigu-ing test. The eyes watch as the ab-solutely white screen becomes alive with consistent geometrical struc-tures becoming numbers and a black screen, making one think of how the brain should focus. Coming into the surroundings, a sound makes its way through the quietness of blank nothingness.

EARLY LIFEBorn in 1966, in the Gifu capital of Gifu prefecture, Ryoji Ikeda had made what we disliked most in school a most intriguing combustion of sens-es, putting the idea of a matrix into the sphere of art. Our imagination and sense of thinking is altered by the dig-ital world. Ikeda takes the perception of numbers and sounds and pushes it to another level. Binary patterns of 0s and 1s, have been developed into a project ‘test pattern’ (2008 - ), scru-tinizing the relationship between the odds which are yet also similar. With the way he combines sound and math, his creations are another way of un-derstanding the imperceptible mul-ti-substance of figures that infiltrates our world .

Installations of large-scales series called ‘spectra’ (2001 - ) happened in Amsterdam, Paris, Barcelona and Nagoya. These engaged a blinding light of white ‘nothingness’ to be seen as a sculptural meaning, and in the

process, creating a transformation of public locations. Before continuing with projects such as ‘datamatics’; consisting of structural sound move-ment in 2006, Ikeda has collaborated with Carsten Nicolai on a project ‘cy-clo’ (2000 - ). ‘Cyclo’ makes what we find most irritating in the breakdown of our software and computer pro-grammed music a point of scrutiny with the help of music. Live perfor-mances, Cds and books share similar-ities with ‘cyclo’, in a sense that they are visualized via cinematographic modules for simultaneous sound vis-ualization (Raster- noton, 2001, 2011)

Ikedas’ exhibitions were held along-side his performances at prestigious spaces counting Auditorium Parco della Musica, Roma, ICC, Tokyo; Art Bejing; Göteborg Biennale; Palazzo Grassi, Venezia; Amrmory Park Ave-nue, New York; Australian Center for the Moving Image, Melbourne, MIT, Boston; Ars Electronica Center, Linz; Centre Pompidou, Parisl. Galleries and museums where his pieces were performed were also exhibited at the Tate Modern, London; Irish Museum of Modern Art, Dublin; Yamaguchi Center for Arts and Media, Museum of Contemporary Art, Tokyo; Ikon Gal-lery, Birmingham; Singapora Art Mu-seum; Museo de Arte, Bogota. Festi-vals for which are not to be forgotten such as Sónar Festival Barcelona; El-ektra Festival Montreal; Festival d’Au-tomne Paris; Grec Festival; Crossing the Line Festival, New York, including electronic music festivals and clubs.

Thinking of math, most of you remember sitting in class and drowsing off into to the O-zone, wondering when the class will finally reach its end.

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THE SELLING

19706SECTION ART/TOP SIX ARTISTSCREATED JAKUB KUBICASOURCES WIKIPEDIAPHOTO ARCHIVE OF ARTISTS

66

BEST

SELLINGARTISTS

BORNSINCE

197067

Banksy is a pseudonymous United Kingdom-based graffiti artist, po-litical activist, film director, and painter.His satirical street art and sub-

versive epigrams combine dark humour with graffiti executed in a distinctive stencilling technique. Such artistic works of political and social commen-tary have been featured on streets, walls, and bridges of cities throughout the world.Banksy's work was made up of the Bris-tol underground scene which involved collaborations between artists and mu-sicians. According to author and graph-

ic designer Tristan Manco and the book Home Sweet Home, Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher, but became in-volved in graffiti during the great Bristol aerosol boom of the late 1980s." Ob-servers have noted that his style is sim-ilar to Blek le Rat, who began to work with stencils in 1981 in Paris. Banksy says, however, that he was inspired by "3D", a graffiti artist who later became a founding member of Massive Attack.Known for his contempt for the govern-ment in labelling graffiti as vandalism, Banksy displays his art on publicly vis-

ible surfaces such as walls, even going as far as to build physical prop pieces. Banksy does not sell photographs or reproductions of his street graffiti, how-ever, art auctioneers have been known to attempt to sell his street art on loca-tion and leave the problem of its remov-al in the hands of the winning bidder. Banksy's first film, Exit Through the Gift Shop, billed as "the world's first street art disaster movie", made its debut at the 2010 Sundance Film Festival. The film was released in the UK on 5 March 2010. In January 2011, he was nominat-ed for the Academy Award for Best Doc-umentary for the film.

BANKSY1

TOTAL SALES$39.56MLOTS SOLD798NATIONALITYBRITISHYEAR BORN1974

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Yin Zhaoyang’s work, while square-ly situated within the context of contemporary Chinese painting, directly references the western tradition of the 1960’s and 1970’s

– calling to mind the work of Gerhard Richter and Andy Warhol among others. Unlike the genre of political pop, gaudy art, or kitsch, within which the image of Mao is so often positioned, Yin Zhaoyang presents these powerful images within an atmosphere of memory and ambig-

uous reflection. Working from photo-graphs of the living Mao, both official and unofficial, as well as from images of monuments erected in his honor, Yin Zhaoyang explores the distanced rele-vance of Mao Zedong to a society that has largely repudiated the policies of the Great Leap forward and the Cultural Revolution.Yin Zhaoyang, born in 1970, came of age in a post-Mao China. His new paintings communicate a sense of transcendence

of memory – a process whereby memo-ry is pulled into the present and exam-ined more for its image making poten-tial than for its ability to assign content. By virtue of this process of examination and reflection, a connection is created between artist and subject, placing one in relation to the other. Yin Zhaoyang’s work bypasses a critical or judgmen-tal stance, in favor of an image driven sense of immortality.

YIN ZHAOYANG

2TOTAL SALES$27.27LOTS SOLD185NATIONALITYCHINESEYEAR BORN1970

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Born in 1973, Urs Fischer began his career in Switzerland where he studied photography at the Schule für Gestaltung, Zurich. He moved to Amsterdam in 1993 and had his

first solo show at a gallery in Zurich in 1996. Fischer's subversive approach to art is often considered to be influenced by anti-art movements like Neo-Dada, Lost Art, or the Situationist Interna-tional. Since Fischer began showing his work, in the mid-nineteen-nineties, in Europe, he has produced an enormous number of objects, drawings, collages,

and room-size installations.In Untitled (Bread House) (2004-2005), Fischer constructed a Swiss style chalet out of loaves of bread. His Bad Timing, Lamb Chop! (2004-2005), displays a gi-ant wooden chair straddling a half emp-ty packet of cigarettes. Between 2005 and 2006, he created Untitled (Lamp/Bear), an edition of three 23-foot-tall, 20-ton, bronze bears (two are yellow, the third is blue) intersected with ge-neric functional lamps that appear to spring out of their heads; in 2011, one of the pieces was displayed for five months

at Seagram Building's plaza before be-ing auctioned at Christie's. For his 2007 show at Gavin Brown’s enterprise in New York, Fischer excavated the gal-lery’s main room, bringing in contrac-tors to dig an eight-foot hole where the floor had been, and calling the result You. In Death of a Moment (2007), two entire walls are equipped with floor-to-ceiling mirrors and set in motion by a hydraulic system, to create the surre-al effect of a room in flux, morphing in shape and size.

URS FISCHER

TOTAL SALES$21.91MLOTS SOLD42NATIONALITYSWISSYEAR BORN1973

3

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In Bali, where he was born, there were two traditions of painting – a sacred one and one of words for a Western audi-ence – but his relationship to these is indirect. Masriadi received his training

in art at the Institute Seni Indonesia (ISI) Yogyakarta. From the time he was an art student, he had already been recognized by peers as one of the very first contem-porary Balinese artists who eased himself away from an encompassing concern with Balinese life, culture and traditions in his works. He is reputed to have stood in front of the canvas on a cardboard box to restrict himself from any distractions and fidgety behavior; to learn the skill of painting.The visual imagery and narratives in his

paintings are derived from keen and in-telligent observations of social life and behavioural traits. His visual vocabulary is striking, continuously refreshing and contemporaneously relevant.Early works show him sparring with Western modern-ism in the guise of cubism but meshing it with caricature, the language of street ad-vertising and graffiti. The way he has over-drawn his finished paintings with a marker can best be seen as a means of inscribing himself in or against that tradition."Masriadi: Black Is My Last Weapon," was the artist's maiden solo show at the Sin-gapore Art Museum which was co organ-ised by Gajah Gallery in 2008. The exhibit spanned Masriadi's 10-year career and

explored the evolution of his signature black-skinned figures, a motif now widely copied by other Indonesian painters.Masriadi's works are marked by con-sistent high quality — thoughtful in the messages that transmit from scenes and figures in his pictorial world, and painstakingly detailed in execution and finish. These qualities have led him to receive positive reception from the art collecting world at large. He is present-ly Southeast Asia's most well-received contemporary artist at auctions; the ap-preciation of his works is a testimony to his forte and talent as a painter as well as a barometer of the ascendency of Southeast Asian contemporary art.

NYOMAN MASRIADI

4TOTAL SALES$21.12MLOTS SOLD104NATIONALITYINDONESIANYEAR BORN1973

74

Anselm Reyle took an early interest in landscape design and music before finally homing in on paint-ing and sculpture. Characteris-tic of his work are various found

objects that have been removed from their original function, altered visual-ly and recontextualized. Reyle works in different media, utilizing strategies of painting, sculpture and installation and working in serial, structured work

groups. The artist uses a vast and di-verse group of materials taken from both traditional art and commercial milieus including colored foils from shop window displays, acrylic medium and pastes, automotive lacquer, and useless everyday garbage taken from urban areas. By removing these ma-terials from their contexts and mask-ing their original function, Reyle varies the degree to which each retains its

respective visual reference. Utilizing formulas of appropriation the work lets the viewer shift between moments of identification of individual elements within the work, and periods of alien-ation due to their new context. Even the exhibition and work titles are very often citations from different fields, such as song texts; they function as ob-jets-trouvés of the artist´s repertoire.

ANSELM REYLE

5TOTAL SALES$20.34MLOTS SOLD171NATIONALITYGERMANYEAR BORN1970

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Mehretu was born in Ethiopia, in 1970, the first child of an Ethi-opian college professor and an American teacher. They fled the country in 1977 and moved to

East Lansing, Michigan, for her father’s teaching position at Michigan State Uni-versity. A graduate of East Lansing High School, Mehretu received a Bachelor of Arts degree from Kalamazoo College in Kalamazoo, Michigan, and did a junior year abroad at Cheikh Anta Diop Univer-sity (UCAD) in Dakar, Senegal, then at-

tended the Rhode Island School of De-sign in Providence, Rhode Island, where she earned a Master of Fine Arts degree in 1997. She moved to New York in 1999. Mehretu's mother-in-law is Australian author and poet Lily Brett.Mehretu is known for her large-scale paintings and drawings and her tech-nique of layering different elements and media. Her paintings are built up through layers of acrylic paint on canvas overlaid with mark-making using pen-cil, pen, ink and thick streams of paint.

Her canvases overlay different architec-tural features such as columns, façades and porticoes with different geograph-ical schema such as charts, building plans and city maps and architectural renderings for stadiums, internation-al airports, and other public gathering hubs, seen from different perspectives, at once aerial, cross-section and iso-metric. Her drawings are preparatory to her large paintings, and sometimes interim between paintings.

JULIE MEHRETU

6TOTAL SALES$15.60MLOTS SOLD57NATIONALITYAMERICANYEAR BORN1970

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ECCE HOMOPHOTO: NATALIA EVELYN BENCICOVA

PRODUCTION: ADAM AND EVE.LYN

ASSISTANCE: ADAM CSOKA KELLER, BEA P., ONDREJ.

F. , BARBORA L., EMA R., MISO P., VANDA K.

ECCE HOMO

SEKCIA ART/COLLAGE COLLAGES JAKUB KUBICA

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Collage

Collage

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Jakub Kubica uses double spread as a bordered 2–barrier area, which helps him develop thoughts of his collages. Consecutive dialogue between the pictures, geometric elements and the graphic, complete yet another part of lyrics from different songs. This gives the reader a surrealistic impression, causing the reader to imagine the story in their own way. Kubica is influenced by existentialism, sex and the basic human instincts. The reader often finds him or herself in contradictory situations from which the reader has to prioritize one or the other. He forces the reader to perceive his work from different angles.

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I will go where the money can't goGold is deadAnd your God has gone home

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You want freedom without loveAnd magic without loveMagic without loveY e a h

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Come on baby, light my fireTry to set the night on fireYou know that it would be untrueYou know that i would be a liarIf was to say to youGirl we couldn't get much higher

121

Fuck it now I can't quit will never b

e the same

I got that attitude you got no thang

I'm fit ta hurt you gives a fuck

about the way I move

weight

Dark matter flu state

of consciousness

Straight through your won't do shit

But beg

me to

do this

Again and again and again and again

Strangler clutch sine wave

deconstruct

My way or no way bangin hey makin lust

Lucid nut shake shake

it up

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Been working way too much need to get out and get fucked upWhats going on, where's it atMake some calls to make it crack, lets see...I need money, drugs, a rideAnd a spot with hot ones inside

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Been working way too much need to get out and get fucked upWhats going on, where's it atMake some calls to make it crack, lets see...I need money, drugs, a rideAnd a spot with hot ones inside

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Weightless falls honeysuckleS t r a n g e r s Lights from pagesPaper thin thing

Protected by the naked eye Pearly sunrise

Nearly worn Kneeling like a supplicant Darkened skin Afraid to seeR a d i a t e Open lips Keep smiling for me Darkened skin Afraid to seeR a d i a t e Open lips Keep smiling for me

160

Things I ' v e s e e n w i l l c h a s e m e To the g r a v e

164

I'm not good in a crowd, I got skills I can't speak of Over there

248

NET-SET

168

SECTION NET-SET PHOTO INTERNET CREATED BY JAKUB KUBICA

170

IMPRINTDirector & Editor in chiefJakub Kubica

EditorsKarol Palinkas

Julie Pazderka

PhotographerNatalia Evelyn Bencicova

ArtistsAndrea Pekarkova

Vojtech Novotny

Art Direction & DesignJakub Kubica

adress:Londone-mail:

[email protected]

www.sixthfingermagazine.com

sixth finger magazine issue i

Documents

new upwhat

new ways

year old

line of jason wu dolls

new york times

new formats of magazines

serious magazine

following year