sw magazine

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ISSU

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Juni 2013No. 01

8 FASHION POP

19 NICK CAVE

24 MODEL VS MONSTER

30 GISELE BUNDCHEN

5

191988

2424 30308 FASHION POP

19 NICK CAVE

24 MODEL VS MONSTER

30 GISELE BUNDCHEN

7

FASHION POP

Photography: Greg Kadel Model: Abbey Lee Kershaw

Artist/Illustrations: Mel Kadel

fashion

16

NICK CAVE

a sculptor costumierand performance

artist

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artist

'Its like a suit of armor protecting your identity'

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creative

Nick Cave combines free-spirited motion exploratory modern

dance with ostentatious sculptural detail to breath new life into

contemporary art. In many ways, Nick’s work function within the

vein of African art/costuming in the sense that they are intended

to be “danced,” and enlivened within the context of performance

and dance to illustrate and reflect upon societal mores and the

cultural landscape. With references to haute couture, sculpture,

performance, African American culture, costume, masquerade and beyond, Nick’s “Sound

Suits” defy categorization. Beautiful/Decay recently had the opportunity to interview Nick

Cave to discuss his background, inspiration and ideology behind the suits. Nick Cave is cur-

rently showing his latest works at Jack Shainman Gallery, until Feb 7, 2009.

Your background is in fiber textiles

and modern dance- in a video I heard

you say that the sound suits emerged

out of your attempt to conflate these

two disciplines. One of your first sound

suits was made out of twigs collected

off of the ground, that at first in your

mind functioned more of a sculptural

object, until you donned the suit and

realized it had an amazing tactile,

performative quality. After this initial

suit, what were your ensuing “sound

suits” like? How did your vernacular

develop?

Through material and the role in which

material can provoke transcend a

idea, feelings.

What considerations do you take into

mind when creating a soundsuit, with

regards to material, composition, color

and sound?

None all organic , anything can happen

and its all about imagination.

The suits themselves are quite se-

ductive visually fundamentally sort of

linked to haute couture, one could

definitely see these walked down fash-

ion runways as well or in avant-garde

high fashion photo shoots. How do you

think these works function within this

idiom?

No absolutely not, they were not in-

tended to be connected to fashion but

I can how they can inspire the fashion

world.

Can you describe your creative pro-

cess behind the creation of a sound-

suit, from the inception of the idea, to

the fabrication of the piece, to per-

forming it?

Its just organic and anything can spark

it. Maybe a certain pattern in a textile

will start a shape and then its just ex-

ploring.

In many ways, I feel that your work

explores African art and the African-

American experience. (I saw that you

participated in the show Stephanie

Sydner curated, “Working History: Afri-

can American Objects,” which included

such heavy weights as Adrian Piper,

Faith Ringgold, Kara Walker, among

others). In a sense, your work contin-

ues on the lineage of African art in the

sense that your works are sculptural,

yet are enlivened within the context of

performance and dance to illustrate

and reflect upon societal mores and

the cultural landscape. I’m thinking in

particular of the masks and head-

dresses that are animated via dance

to express a broad range of ideologies

and occasion within African culture. Do

you see your work as being situated

within this visual language?

When I go to Museums looking at ob-

jects and the way they fit in society,

their role in it and the formality , work

is positioned and forced to be seen.

The ceremonial costumes of the past

all had a purpose so I play and mix

those in my work with modern creative

ideas.

EYE OF THE BEHOLDER Caves Armours

20

They also bring to play a certain sexu-

ality associated with the mask and

costume I’m thinking of the ostenta-

tion of Brazilian carnaval, or the erotic

identity- separation (and subsequent

loss of sexual inhibition) of 18th century

European masquerade balls. How do

you feel your suits relate to sex and

gender do their concealing powers

liberate?

Absolutely, as I mentioned before put-

ting on the suit can only be done when

you let yourself go and immerse your-

self into the suit/world it creates.

Can you describe the feeling of don-

ning one of your soundsuits to the

unitiated?

Its like a suit of armor , protecting your

identity, making yourself hidden from

your exterior.

You have to settle with yourself before

you can bring this association and other

identity before you can let it completely

take you over.

Can you recommend a few critical

texts, images, quotes or philosophies

to those who are interested in digging

deeper within your work?

I come from a background of perfor-

mance and a passion for textiles. I

spend a lot of time looking at Haitian

and African garments. Museums of

Natural History, always an inspiration. I

look at objects and the function versus

art. Looking at duality in both.

Role of my work Is that I want to navi-

gate between the two worlds of func-

tion and art. When objects are taken

out of context, you find varied mean-

ings.

If you could create a project, regard-

less of cost or scope, with your sound-

suits, what would you imagine?

Well that’s actually in the works. I have

a 90 Soundsuit performance, working

with community based project , dance

companies and doing outreach to the

public schools. This is where I see my-

self as a humanitarian first using my art

as a vehicle for change.

For example I could go to a city, work

for a certain amount of time and leave

the program with new ideas and art to

be continued and shared amongst the

community.

As child, seeing Alvin Alivey perform

was it for me when that opportunity

came around, I thought I would want

give that back and make other dreams

become reality like mine did.

What other projects do you have on the

horizon; where else can we see your

work in the coming months?

Yerba Buena Art center. San Francis-

co. installation of 60 Soundsuit installa-

tions.

'Role of my work Is that I want to navigate between the two worlds of function and art'

'You have to settle with yourself...'

interview

23

Model vs monster

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24

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Ut inihill aborest ad quam vent earum hillese opta

25

GRRRRRR

humor

BOEEH!!

29

GISELE BUNDCHEN

30















tus.

















enem rem re veniam rem re prate occullu ptistibusci

andit, si cus dolorro quaeptas eum, sedit fugitatem-

por as as aliquid ut acim quateca eprovidit, sunto-

taeped mint.

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que re, utem harias et etus a pori ratur, sed max-

im dolenem possinis exeruntecea cum velis audae

veresequi imust et labo. Poritinullum am que solup-

tur sim fugiatem eum, aut que cus in pedi si volupta

con rendiciatum eum eum comniae pratus porerum

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ris consedit earum derovit, tem quuntion prat eaqui

velende ndebit est laboresed maximusciis ellaute re


dolutectur? Qui tet essi sanis acesto moluptur sin-

imi, ut esedios et eosti unt eos el idelia quae nobit

laborehenes et aspidis volorro et faciet vendunt eati

nis nem aute repratq uodio. Ulleni doloris simper-

em. Nam harchil lessedicium et exces mos ulluptati

int aborias aut dicia quae que eum que nost ilitati

orumque in nobis sum verem voluptat endene prat.




eat.










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Soluptas dene dolest es iliqui nobistestem rest esti

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est, nem quata aut quassim rerro vella doluptaec-

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vendipidi is rerum aceat aut adit landi dus magnate

GISELE BUNDCHEN GETS HER FACE PAINT ON

32

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aut venisti imus, sundae nobitat empossitin ex et dolorporupta venis aut

eaquae sum il eturio ilibus endist quis veliti aut alibus, inime ne plaborrum

quo voluptin et, veles eveliciis molupta tectus sum aut earibus num sum

34

'Erchilicita voles essimilique nonsern atiatat'

'blablabla vingerverf...'















tus.


















dolutectur?

Qui tet essi sanis acesto moluptur sinimi, ut esedios

et eosti unt eos el idelia quae nobit laborehenes et

aspidis volorro et faciet vendunt eati nis nem aute

repratq uodio. Ulleni doloris simperem. Nam harchil

lessedicium et exces mos ulluptati int aborias aut di-

cia quae que eum que nost ilitati orumque in nobis

sum verem voluptat endene prat.




eat.










velia ditem aut adis ma cum et volore mo volorisimus.

36

Preview issue No. 02

38

Issue nr 01

sw magazine

Documents

nicks sound suits

ensuing sound suits

african american culture

africanamerican experience

fashion world

context of performance

lineage of african art

suit of armor