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DUPE is a London based collective

A printed zine and online blog

Conceived, written, filmed and illustrated by artists

Previous theme: HAIR Current theme: ROAD TRIP Upcoming theme: DARK

Ask us anything: contactdupe@gmail.com

twitter.com/wearedupe:

    DUPE talks to artist and musician K Craig

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    You are quite creatively versatile (music, art, video). What did you get into first? Do you have a preferred field?
    I’d always drawn - gig posters and flyers- a few illustrations for zines. That spiralled into doing a couple of album covers. I didn’t start with music until quite late, I guess. I was 21 and approached in a nightclub by Marc Rahr (one third of A.R.C. Soundtracks). He’d just carved up the dance floor, spooky insane dancing, landing sprawled in a heap to the final beat of The Birthday Party’s ‘Release The Bats’. He asked if I was a singer. I  said yes (I really wasn’t).  And that was it. We were in a band. I’d never considered it before. That band collapsed within months, but it was there that I started being involved with music.
    One thing tied into the next, I began doing more album covers for projects I was involved with, then making films grew from that. But  it all comes from the same drive. The music and the video and the art are just different ways of creating a window into the Other place. Video is great for that because it is so much about mood and atmosphere. It’s sound and image working together. Everything coalesces into a big, interlinked whole.

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    How do you work? What inspires you?
    It usually starts with little experiments, really. An amount of ambiguity from the beginning is important to me. I never really want to know exactly what it is I’m making, I need to keep a part of it unknown. I’ll throw an idea around for a while, discard most of it, start again, go back to the beginning, abandon everything, pick up the pieces and sometimes -sometimes- there’s a little spark there, something I didn’t consciously make. If there’s enough of those little sparks, then you’ve got the beginning of something. That’s the part of the process that I’m interested in. Once things are finished I don’t really tend to got back to them. Other times things just fall out, fully formed and ready. And I really try not to think about that too much, just let it happen and don’t ask any questions. Things just churn away, under the surface. 

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    If you were a color, what would you be? And why?
    Black.
    Do you always dress in black? Since when? Pictures please.
    I’ve worn black everyday since I was about 14. Every day. It’s such a teenage thing to do. In the beginning it was all small town subcultures and misguided attempts of self expression, flailing around and looking ridiculous. Teenage rebellions which meant a lot to me, but nothing to anyone else. The same thing pretty much everyone goes through. But I became so used to wearing black, so comfortable in it, that it stayed. 
    All of my clothes match. If I need to buy clothes then my options are instantly cut down to one question -‘Is it black?’ I never clash with anyone else, it never dates, it’s appropriate for every occasion, it’s utilitarian. I wear a pair of black overalls when I work. The perfect working outfit. It just seems to be the right thing to do.  I really cannot see myself ever not wearing black. It never bores me.

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    What does “dark” makes you think about? How does it appeal to your imagination?
    Of all the different forms of ‘dark’ in cinema or artworks or music, the type which appeals to me isn’t  just the dark which is linked to horror or the unpleasant  or miserablism (although they all play a part). Darkened rooms, night scenes, high contrasts. The type of place where something could happen. There’s something very intimate about that kind of darkness.  Looking at that unknown quality, it can be glamorous or touching or dramatic in ways that the everyday can’t. ‘Dark’ isn’t the same as ‘creepy’. Everything can happen in the dark. It’s ambiguous enough that the most amazing thing can still be totally devastating. So I feel that the ‘dark’ is very much a place beyond the everyday, where certainties no longer really apply.
    I do have some problem with the term ’dark’ when used to describe the foregrounding of previously hidden subtext in (for example) children’s stories for an adult audience. That’s incredibly prevalent in popular culture at the moment. I don’t really need a ‘dark’ version of Hansel And Gretal or Alice In Wonderland. The beauty of the darkness in those tales is already there. To draw attention to it, to take that those motifs and write them large, just removes any ‘darkness’ for me. 

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    What are you working on at the moment?
    David Armes and I have just released the A.R.C Soundtracks album. This was  really important to us, the project was instigated with Marc Rahr in an effort to capture some of his musical ideas.
    So we improvised over several weekends, started building sound collages. And we kept going back and refining these pieces, over a couple of years. Then in 2012, Marc died. So eventually, David and I felt that we had to release these pieces as an album. This has led to a kind of curated record label, Little Crack’d Rabbit, releasing all kinds of experimental music. I’m in the process of making films to accompany these recordings. We’re also working another Last Harbour album. That should be ready for release next year.
    There’s also a film/installation project that I’m working on at the moment which deals with the Sublime, science-fiction, mysterious faculties and institutions, pseudo-science, meditative practices and hoaxes. It’s called ‘The Swedenborg Institute’. I’m hoping to show that over the next year.

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    What would be your top 10 “dark” films and/or songs?
    Films
    Twin Peaks: Fire Walk With Me - David Lynch
    David Lynch is a fairly obvious reference for ‘darkness’ in cinema, but I completely fell for Fire Walk With Me. Lynchian cinematic tics in full force.
    Night Of The Hunter - Charles Laughton
    A famously ‘dark’ film. The river boat scene is another touchstone in dark cinema.
    The Turin Horse - Bela Tarr
    Unflinchingly bleak.
    The Innocents - Jack Clayton
    Gothic thrills, weirdo children, ghosts, sexual undercurrents and madness.
    Onibaba - Kaneto Shindo
    Beautifully shot Japanese horror from 1964. 
    Music
    Midnight Black Earth - Bohren & der Club of Gore
    Sloooooow German jazz. I saw them play live recently and there was more dry ice than I ever thought possible.
    Past, Present, Future- The Shangri-Las
    I could easily have chosen Dressed In Black or He Cried, but the first time I heard this song I needed to hear it again and again. Moonlight Sonata and spoken word vocals.
    Superstar - The Carpenters
    The song is great and bittersweet and all, but I find the final, unresolved note heartbreaking and strange. Sonic Youth’s cover version is also also great.
    Shut Me Down - Roland S Howard
    Dark, dark pop from the under-rated Roland S Howard, who passed away in 2009. Either this or ‘Shivers’- the ultimate teen angst song, written when he was 16.
    Farmer In The City- Scott Walker
    Epic and scary and sad. Scott at his best, I think.

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    All visuals (c) K Craig

    Click here to access his vimeo account

    Check out his band: http://www.lastharbour.co.uk/

    — 1 week ago
    DUPE talks to music writer, musician and welsh appreciator Coc Oen

    Dom Egan, aka Coc Oen is DUPE’s zine regular music writer. Originally from Llanfairpwllgwyngyllgogerychwyrndrobwllllantisiliogogogoch in Wales (apparently kids would charge tourists 50p to pronounce it for them), he called Manchester his home for many years and is currently living in Leeds.

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    First of all, tell us about your name: How/Why/When did you start to use this nickname?

    I had a friend in Bournemouth around the turn of the century, a Glaswegian guy called Gary who asked me to do some Welsh rap (about eighteen inches’ worth) on some music he was making with his MiniDisc. (Yes, that long ago…) My Welsh was (and remains) really bad, not up to the task, but I did come up with a name for this abortive rap character: MC Coc Oen. It’s Welsh for “dickhead”, literally “lamb’s cock”, and a germ was planted in my tiny mind. Within a couple of months I was making music with some other friends down there and beefing up my north Wales accent for some half-hop lyrics about lurking around the corners of parties, St Peter’s genitals rubbing against his chasuble and other kid-friendly topics. Then I moved to Manchester and started performing in the same persona in a band with my brother (Loopol) and then two other brothers as well (Ringo & Master Egg). When social media started I decided to hide in plain sight and go with the nickname. Some people call me “Coc”, and it has been shouted out at me on the streets of Chorlton in Manchester, but any Welsh speakers that hear about it think it’s ridiculous.

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    Your previous band “Delicate Hammers” was kind of a local Mancunian sensation. Tell us about it.

    Ha! It was a tingling sensation that proved quite easy for a lot of people to ignore. Loopol and myself made music in his basement in West Didsbury using Ableton and what have you and we decided we should put on a band night (Group Hug) and perform. I wore a wolf mask the first few gigs. People misinterpreted it as shyness on my part or tried to whip it off, and it was difficult for the mic to pick up my voice, so we dropped it. A band coalesced around the computer music we made with bass and guitar and stuff like hoover parts and kazoos - but the drums were never live. This helped maintain a chaotic feel we liked to call Shonk that we used to our (dis)advantage, and many gigs, the more successful ones, would teeter on the edge of stand-up comedy as Loopol and I chatted shit to each other. We got played on Radio One once and immediately built on that momentum by doing nothing for months. We were once described as a “manlier Sparks”, which I liked; most people thought we were mental, whether they liked us or not.  We were interviewed by Manchester Evening News just before we stopped playing gigs. We played at a pagan wedding festival in the shitting rain. All the usual cliches, but not necessarily in the usual order. “Four heads, two wombs, one Hammers!” We’ve never officialy broken up but the hiatus is long and we’re scattered across London, north Wales, Manchester and Leeds now.

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    How did making music and writing about music come together?

    To paraphrase Garth Merenghi, I’m one of the few writers that have written more songs than I’ve listened to properly. I don’t think there’s a very strong link, to be honest, other than the fact that I really like music. Our lyrics were quite dense and wordy, which would make sense, and my music reviews are the same, wordy and impressionistic. I had a little project a couple of years ago where I decided to try to listen to and write about 500 albums that I hadn’t heard before in a calendar year. I’d managed 250 by the end of June but then another little project was born in the Autumn and the attempt petered out into sleepless nights of feeding and nappy changing. I got to 360, I think - it was fun for me, but my wife hated me disappearing under headphones all night. My favourite album of that year was “We Are Nobody” by The Chap, incidentally. There were some daft ideas about music on there, and I seem to have continued that theme writing for Dupe.

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    Article for DUPE, The Hairy Issue. Illustrations by Thomas Oates.

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    What do you like about writing? Do you write about things other than music?

    Writing makes sense and I feel as though I can communicate myself, but that brings the downside of feeling like I’m communicating being an utter dick. I’ve basically got the procrastination of a writer down and the ability to sit inactive for long periods, so sooner or later, some words have to come out. I’m a monkey with an infinite typewriter. When I do write it might be about pop music, other cultural stuff like how football reflects national characteristics, and (now that I’m a stay-at-home Dad) parenthood, for which I cannot apologise enough.

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    Article for DUPE, The Road Trip Issue. Illustration by Helen Mather.

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    Who are your icons? Who/what inspires you?

    I’m a believer in not meeting your heroes. I shouted at my micro-Daddy John Peel for hours to stop playing techno one night - not sure why, I quite like a bit of techno - and a few months later, he died. Usually, I can’t think of anything to say to people I admire. However, that doesn’t mean I can’t gaze on them as icons. In terms of performers, they would generally be the electric, unpredictable, intellectual, playful, laconic, angry types - people who could collapse in the ceiling with the weight of their words. I wanted to be like Viv Stanshall, John Cooper Clarke, David R Edwards from Datblygu (the Welsh Fall), Captain Beefheart, Mark E Smith, Nigel Blackwell from Half Man Half Biscuit - I was generally told I looked like a geography teacher with a beergut. I’m not sure whether that ruled me out or not.

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    Viv Stanshall - David R Edwards

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    You just wrote a new article for DUPE’s upcoming “Dark Issue”. What does “dark” make you think about? How does it appeal to your imagination?

    Dark is interesting. I think it’s very easy for people to create a pantomime of “dark” stuff like black lipstick or acting out childhood issues in a rather overly-conscious way; the really dark stuff I think is maybe less noticeable, corner of the eye like a classic ghost story. Rather than the screaming glamorous goth type or whatever, the quiet guy who no one pays any attention to but is gradually losing his mind. Insanity is a very powerful narrative device in films and music but I think the violent aspect of it is used too often to attempt to shock. I find the Jungian ideas about the Shadow very interesting - the idea that the dark is where you store the ideas about yourself you find difficult to identify with consciously and which you project onto others. The monsters that are actually reflecting what is going on in the minds of those around them. They can burn and shine with a brilliant darkness. And you what they reflect can change the way you think about familiar concepts.

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    What would be your top 10 “dark” films?

    My favourite films are generally Eighties feel-good comedies where nothing really dark or dangerous is allowed to get the upper hand (Ghostbusters, Trading Places, The Big Lebowski), so “dark” films are not my forte. I would say that the films that darken my door the deepest would be the moral desert types, the ones with no feel-good ending or much of a feel-good beginning or middle either. “No Country for Old Men” scared me shitless because I felt as though the moral black hole at its centre could have sucked me in through the screen; it was how I used to feel walking home late at night after reading weird comics at my best friend’s house on Anglesey. “Natural Born Killers” was similar - Mickey and Mallory seemed real monsters.  “Jacob’s Ladder” scared me so badly that I clung to my university girlfriend’s back all night in a state of all-out ontological horror.

    There’s a great slasher, clever and gripping in a way few slashers are, called “Reeker”, which did dark nicely. Last year’s “A Field in England” was a black and white psychedelic triumph of bleak immorality and human weakness - like a Chris Cunningham Aphex Twin recruitment video for the New Model Army. “Betty Blue” pulling her eye out with a fork was pretty dark. And I couldn’t watch “The Road” beyond the halfway point, especially now I have a son: the sense of complete doom was crushing.

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    A lot of dark comedies miss the mark for me, but two that work excellently well are “Dr Strangelove” which ends with total nuclear Apocalypse, and “Four Lions”, which ends with the destruction of a branch of Boots. Again, though, it can be more interesting to look at the darkness within apparently less troublesome films. Bank holiday afternoon Bond films are pretty dark - the more flippant Roger Moore ones even more in their callous, misogynist ways than the re-tooled, grittier Daniel Craig versions; all creaky dialogue and dead women. Let’s say “View to a Kill”.


    I’ve almost certainly missed out a stone cold classic piece of dark cinema, some film noir or Hitchcock psychological thriller.

    http://cocaphrenia.blogspot.ch/

    https://twitter.com/coc_oen

    Pictures (c)

    Anne-Laure Franchette, Coc Oen, DUPE

    — 3 weeks ago with 2 notes
    DUPE zine is now stocked at the CCS bookshop in Paris

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    New stockist!

    CCS, 32-38, rue des Francs-Bourgeois, 75003 Paris, France

    http://www.ccsparis.com/

    — 3 weeks ago

    Benjamin John Hall is a Shoe designer, Tutor & award winner.

    Recipient of an ITS YKK award, he is known for his conceptual 2012 collection ‘Birth, Life, Death and Ressurection’. 

    His up and coming project is for the Fashion Space Gallery’s Relaunch programme at London College of Fashion this Thursday, 13th March, 8pm.

    Benjamin where and what did you study? Have you always wanted to be a shoe designer?

    I studied at Cordwainers College and then at The London College of Fashion. I did an HND in footwear and accessories design and then moved on to a degree in footwear.

    I was interested in shoes from the age of 13.

    You’ve worked in China and now live and work in London. What was the shoe industry like over there? Would you ever go back?

    When I was in China it was a huge emerging market and working there was a fantastic experience. I worked in brand new factories that felt more like hospitals and was chauffeured from A to B constantly. It was before the recession so we stayed in pretty extravagant hotels and used to go back to Hong Kong to party at the weekends on expenses. The most interesting thing was seeing inside the factories that were making the majority of the worlds shoes, they were huge with on site dorms. Once by mistake we broke for lunch at the same time as the rest of the factory and getting out past a good few thousand employees on their lunch break wasn’t easy. It’s hard to fathom the size of these factories.

    I loved the time I spent in China and these days I miss it very much. 

    Your work is minimalistic, have you ever worked with colour or pattern or been tempted too?

    Yes I have but basically for me form, process and concept are more important than decorative elements such as pattern and colour even though I enjoy them. 

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    Watching your videos I feel there are sexual influences in your work, touches of BDSM/ S&M and the use of surgical gloves alongside a very clean, clinical backdrop. I know the piece is titled ‘Birth, Life Death and Ressurection’ but have you ever heard this before? Who or what are your influences?

    There are no intentional sexual references in my work. However I would say that my relationship with my work is extremely close. To create such immaculate work there is an immense/ bordering obsessive amount of love, care and time invested. There are so many processes in shoe making and every single one must be performed perfectly, in a highly clinical way. I wanted to reflect this in the film. Whether or not my own sexual orientations are manifested in my work is another matter, although I’m sure comparisons could be drawn. 

    If not footwear what other piece of clothing or accessory would you design?

    I’d like to make a leather shirt but I don’t have time. 

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     The next issue of DUPE is the dark issue. What is the darkest thing you’ve ever done, seen/made or read?

    Well at the moment I’m teaching shoe making at a homeless shelter in Camden which can be dark at times. 

    You have an exciting performance coming up at the London College of Fashion in the Fashion Space Gallery  Can you tell us what you’ll be doing? And when can we see these works ourselves?

    I’ll be presenting a new body of work titled ‘Design by Destruction’ which will demonstrate three post manufacture dying processes. This will be executed in a live performance through a series of shoes called ‘Destructibles’. The work should be online after the March 13th under Fashion Space Gallery. 

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    Have any of your strongest pieces of work come from mistakes you’ve made in the studio?

    No, we rarely make mistakes at the studio but we do experiment all the time which often takes us in unexpected directions.

    Do you ever wear your own footwear? If not why?

    Currently not. I can’t afford it.

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    — 1 month ago with 1 note
    #lcf  #fashionspacegallery  #shoedesigner  #http://www.benjaminjohnhall.com  #thursday 
    DUPE chats to Celebrity Fashion Stylist & DJ ALEXIS KNOX

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    You actually started your career as an illustrator after studying Fine Art. Who were your biggest influences in the Art World?
    I really connected to what the YBAs were doing at that time. I loved the rebellious showmanship almost anti-art attitude they had, but all the while brand that and selling it back to art! I paid a lot of attention to Tracey Emin, and actually got the meet her at the Oxford Union when she came to do a talk, we bonded and she invited me out for a bottle of wine, heartbreakingly I had to go back to work as I’d blagged an extended lunch break to go watch her talk!

    How did you make the transition from Illustrator to stylist? And who or what influences your styling work?
    Style and illustration for me during my uni days went hand in hand. My artwork was always costume based and I did my dissertation on branding, so style, performing, art and business have always been my main interests. I knew that the career of an illustrator was not for me, as I love people and interacting and communicating. When I moved to london I didn’t have a plan but to put myself outthere and get as much work experience as possible. During that time I sold my artwork, I worked as a publishers PA, I worked in tv production but it was the fashion assisting that took off. I think because I had such a natural sense of style, people presumed I was a stylist!

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    What person haven’t you got your hands on yet that you would love to style?
    I love big pop icons, like Madonna and Britney, they are so iconic yet can adapt to so many different looks.

    “Bitch I don’t twerk, I vogue!” – So I have to ask since you’ve worked with Miley Cyrus. What crew are you in? The twerking crew or the Vogueing team?
    I roll in my own crew…the rave crew! I’ve been a raver from the beginning! Listening to Helter Skelter tape box sets till I was old enough to hit up free party’s and hit up Milton Keynes Sanctuary to go to Helter Skelter for real!

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    If you had to wear one label for the rest of your life who would it be?
    That’s a really difficult question, because wearing one label would be asking me to define myself to not only the aesthetic but the ethos of someone/something else….. I’ve always had a style thats not easy to put in a category as I would hate to think that my personailty and tastes could be so easily defined.

    Describe a day in the life of ALEXIS KNOX.
    Fabulous. Hahaha, no really…. I do love life I must admit, but it’s not an easy thing, I think anyone in a creative industry will understand that it’s tricky to freelance, but it can be very rewarding. It’s also very hard to describe an average day, becuase it’s impossible to know what each week holds, in what location or project. That’s the magic of it I guess, the variety of it all!

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    Our next issue of DUPE is the Dark Issue. What would your dark inspired outfit be and what would you do in this outfit?
    My dark outfit would be a cyber rave lycra number by one of my fave designers Dane 3001, and it would have light reflective material so if you tried to take a photos it would light refect and I’d look like a giant ord, kinda anti darkness as I’m more in the light crew!

    So New Year, new places and faces. What fashion trends do you foresee being huge this year?
    Cyber is on the rise, but don’t expect to be rocking it till 2015 I reckon. The 90s trend continues, 94-97 is big, looking like a chavvy raver is a must :D

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    Metal or Grime?
    GRIME ALL DAY EVERY DAY!!!

    House or Pop?
    Power pop for sure

    DnB or Disco?
    OMG DnB till I die!

    When and where are you playing your next DJ set? (Dupe wants to dance!)
    I’m playing in Amsterdam at the Bungalup festival, it’s a cyber stage so that’s exciting! If you’re not in Amsterdamn hit up XOYO on Valentines, for Shorebitch, I’ll be playing in the Truth or Dare room :D xx

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    — 2 months ago
    #http://www.alexisknox.com/home/  #ciara  #alexisknox  #fashion  #stylist  #miley cyrus 
    DUPE at Üsin 2013 in Zürich

    DUPE’s Hairy Issue and Road Trip Issue were both being represented at Zürich small press fair 2013 by the Üsin team!

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    http://usin-press-fair.tumblr.com/

    — 3 months ago with 2 notes

    lois-photos:

    Small press section now OPEN at LOIS!

    DUPE are pleased to let you know that the Road Trip Issue is now stocked in Lois, a lovely new shop recently opened on Choumert Road, Peckham. Go check it out (perfect for Christmas shopping too!)

    — 4 months ago with 5 notes
    #lois  #dupe  #zine 
    DUPE talks to duo H A M M A N N & V O N M I E R

    H A M M A N N & V O N M I E R was founded in 2012 by Stefanie Hammann and Maria von Mier, in order to curate and publish artist books. As they are both working as artists they are particularly interested in exploring the format of the artist book as an exhibition space. They have their first office and show rooms until November 2013 at Haeppi Piecis, Maximilianstr. 33 München.

    Tell us a bit more about H A M M A N N & V O N M I E R! How did it all come together?

    We met in Vienna, in 2011 as art students and started doing projects together. Afterwards we both moved to Munich and continued our collaboration. We started by documenting our installations and short trips in small books, and soon the idea came up of founding a self-publishing house. In the beginning it was more just for fun but in February 2013 we decided to take it seriously.


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    You are both artists, editors, bookshop owners and curators. Do you separate your different practices or do they constantly feed into each other?

    Well, we think the most important fact is that we are first and foremost artists and this influences all the other range of action. So we see ourselves as artists doing a self publishing project under the label H A M M A N N & V O N M I E R. In this project we curate, edit and publish books - our work as well as the work of other artists.  We see a book as an exhibition space instead of just a medium for documentation. This method of producing art pieces and curating exhibitions within a book is very close to doing in a three-dimensional space. In a way you can install a room as well as you can lay out jpgs on a page.

    Our bookshop is the first and only showroom for artists’ books in Munich. We run this place because it´s important for us to support other artists working within this medium.

    We touch many different fields, slip into different roles and always work from another perspective. That´s what we call ‘Hochleistungskunst’. HI 5!

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    Do you always work together? Or do you have other projects on the side?

    Mostly, yes! Since we started working in collaboration we are involved in so many projects that there is hardly time for doing extensive solo works. That doesn`t mean that we have given up working separately but at the moment H A M M A N N & V O N M I E R has priority.

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    Have your various projects taken you to any road trips? Do you have any travel stories to share?

    Not directly road trips, but traveling is very often a big theme and also one of the reasons why we are making books. Our first serious artist´s book ‘1234567810 Days in New York + the whole fucking storm story’ is based – as the title indicates – on a trip to New York City. We went there in fall 2012, at the time when Hurricane Sandy hit the city. The consequence for us was 5 days without power, which means no telephone, no internet, no light, no cash, no hot water, no warm food but on the other hand we had a very special and adventurous perspective on NYC.

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    What is next for H A M M A N N & V O N M I E R?

    We will take part in the Festival of Independents at HAUS DER KUNST, Munich. There we will show a selection of artists´ books in a special environment (our ironic title is “success is closer then ever”, a sentence on a found business card from NYC).


    Finally what would you take on a road trip?

    2 note books

    2 mac books

    plus 1 dictionary

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    www.hammann-von-mier.com

    www.facebook.com/HAMMANN.VONMIER


    — 5 months ago with 3 notes
    DUPE talks to actress and stage director Emmanuelle Coutellier about making it happen

    Emmanuelle arrived in Paris at 17, coming from the south of France to study Art History. But she became an actress, first getting involved with theatre. She was soon on TV playing in historical adaptations and on stage. She now runs her own theatre company, working as a stage director as well as being an actress. She still lives in Paris.

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    Tell us about your beginnings, was it hard to find your feet in Paris and within this particular field? Did you have a plan of action?

    E.C: I didn’t have any plan and my beginnings were very easy. It all happened quite naturally, from my first contracts, my friends, to just about everything. It became more complicated after, when I began to think about having a career! I made all my choices step by step, discovering what I needed in the moment. Initially I was very excited about studying Art History in the capital. And I was very young. Theatre came by chance. I applied to dramatic school just for a try. I wanted to have a practice, without really knowing of which sort (writing, painting, etc). I chose a school which was committed to the truth of dramatic art and I immediately got caught in and delighted by the stage. At the end of the year, I decided to stay in this school and to leave University.

    Now that I think about it, I realise how careless and sincere this crossroad was. Some professionnals came to me after seeing some pictures of me on an agent’s website or hearing about me through some friends. This is how I started working straight away.

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    Being an actor is a notoriously difficult career, what have been the ups and downs? What keeps you hooked and what have been your favorite moments so far?

    E.C: Passion, desire, curiosity, encounters! The will to be a better person and to keep growing. I don’t like the idea of giving up just because there are obstacles. There is something in me that keeps me moving toward the sets and the stage and when it happens I remember why: the pleasure of this feeling given by the place, the acting, the learning, the sharing with your partners. The day I won’t have any pleasure doing this job I’ll do something else. Even if it’s hard, it makes me happy.

    I think that you have to be surrounded by the right people: not especially some famous-people-from-the-industry, but some true friends who will support you whatever happens. The fact that I didn’t make plans at the beginning didn’t always help me. When you are too lost to listen to your heart alone it’s good to be on a defined track, inside a group or a school. It helps you to continue without having to worry too much. But I didn’t have any of that, so it took me a while to get on the right track.

    My favorite memories are little details. The moment I called my mom after my first show to tell her that this was the place where I wanted to be, the job that I wanted to do. The moment a director called me to tell me I was chosen for a main part on TV. Having fun with my friends in the wings before getting on stage. Sharing an endless dinner with your team, talking about the day’s work and making fun of everything including yourself. Some breakthroughs in my NY school with my best friend smiling at me. When I left the stage after a workshop with a Russian director and thought “Really? Did I really just did that?” I love the moment when you fly and do things you didn’t even know you were capable of doing.

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    You are now also a stage director and have gained great popular and critical success with your adaptation of “L’histoire d’amour du siècle”. How did you build this project?

    E.C: Little by little! I never planned to create my own company, it happened because it was necessary. I was searching for a play that would move me and fascinate me enough to give me the strengh to carry a project. Because it’s a long way and you have to live with the play, you’d better love it! Märta Tikkanen’s work was the perfect one for me as it really hit me. I felt that it allowed me to gather and manage a team.

    For my first direction I needed to feel confident, if there had been five or six persons it would have been too messy for me. I knew my partner Anne-Sophie from a workshop we made for Toulouse’s TNT and we wanted to work together. I read a lot and when I found this text, I heard music in my head. So I called her and said “I found it but I warn you: I’m going to direct it and there will be musicians on stage.” She said ok and the project was born.

    I looked for some musicians around me. I knew what I wanted and I found even better! We then met our first host to perform: The Finnish Institute of Paris who gave us a deadline to create the project. As it was a pity to play it only once, I wrote to several theatres. We auditioned and we chose the best for us according to all the propositions we received.

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    Do you enjoy touring? Do you have any funny / weird stories to share with us?

    E.C: I don’t have that much experience of it. I still see myself as a beginner. But yes I love touring and travelling for shootings. It’s a way for me to fully commit to the work as you leave your daily life and your landmarks. It helps you to focus and you go through such awesome moments with your partners that you get used to spending a lot of time with them. It’s an adventure and a great way to travel! Because you are not just a tourist and you create personal memories in cities you might have never visited!

    Weird stories: Pretending to be sexy under a mountain’s waterfall while the artificial water was actually freezing cold! Performing an extract of my play in a big theatre in the middle of nowhere in front of teenagers listening out loud to their MP3. A little bit like trying to get the attention of Gremlins in front of a movie!

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    Finally what would be your 5 musical choices for a road trip mixtape?

    E.C: Bruce Springsteen “Dancing in the dark”, the first three albums of Arcade Fire, Rihanna and Britney Spears when I’m feeling down and Bertrand Belin during the night.

    What’s next for Emmanuelle Coutellier?

    E.C: I have a new project in mind so let’s see what happens!

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    Pictures credit: 1: Nathalie Mazéas, 2: Film “Epuration” Jean-Louis Lorenzi, 3: Show "Tes yeux se voilent", Laurent Cazanave, 4: Show "L’histoire d’amour du siècle, Lee Fou Messica, 5: Nathalie Mazéas

    Follow “L’histoire d’amour du siècle” here

    — 5 months ago
    DUPE’s picks: Maps books

    At DUPE HQ, while working on our second and current publication”The Road Trip Issue”, we looked a lot at historical maps and map art. This is why we selected Stephen Walter’s stunning illustration “The Island” for our front and back cover. Here is a little selection of the books that have inspired us.

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    Magnificient Maps, Power, Propaganda and Art, by Peter Barber and Tom Harper

    Display maps have had a significant impact throughout history, yet since extremely few have survived this has not always been fully appreciated. These often magnificent maps, expressing an enormous variety of differing world views, used size and beauty to convey messages of status and power. This book takes the best surviving examples to re-establish manuscript, painted and mural maps as a major cultural medium particularly in early modern Europe by illustrating the settings in which they were displayed and discussing the background and purpose of individual examples. Sourced from one of the greatest map collections in the world, many of these visual delights will be completely new even to experts.

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    On the Map, by Simon Garfield

    This is a book that will inspire mapophiles and also engage those of us who stare blankly at an OS pathfinder’s hieroglyphs. Garfield creates compelling narratives on everything from the challenge of mapping the oceans, to spellbinding treasure maps, to the naming of America, and from Churchill’s crucial war maps to the lay-out of a Monopoly board, from crime maps to music maps, from rare map dealers to cartographic frauds.

    En route, there are “map-break” tales on Michelin and railway maps, how to fold a map, maps of places that never existed, a London A-Z from 1677 and the weirdness of videogame mapping. On the Map explains where we’ve been, how we got there and where we’re going.

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    A Map of the World: The World According to Illustrators and Storytellers Hardcover, by Antonis Antoniou

    Maps help us understand the world. This book features the most original and sought-after map illustrators whose work is in line with the zeitgeist. Drawing a map means understanding our world a bit better.

    A new generation of designers, illustrators, and mapmakers are currently discovering their passion for various forms of illustrative cartography. A Map of the World is a compelling collection of their work—from accurate and surprisingly detailed representations to personal, naïve, and modernistic interpretations. The featured projects from around the world range from maps and atlases inspired by classic forms to cartographic experiments and editorial illustrations.

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    The Map as Art: Contemporary Artists Explore Cartography, by Katharine Harmon

    A book’s celebration of mapmaking to the world of artists’ maps.

    It is little surprise that in an era of globalized politics, culture, and ecology contemporary artists are drawn to mapsto express their visions. Using paint, salt, souvenir tea towels, or their own bodies, map artists explore a world free ofgeographical constraints. In The Map as Art, Harmon collects 360 colorful, map-related artistic visions by well-known artists—such as Ed Ruscha, Julian Schnabel, Olafur Eliasson, William Kentridge, and Vik Muniz—and many more less-familiar artists for whom maps are the inspiration for creating art. Essays by Gayle Clemans bring an in-depth look into the artists’ maps of Joyce Kozloff, Landon Mackenzie, Ingrid Calame, Guillermo Kuitca, and Maya Lin. Together, the beautiful reproductions and telling commentary make this an essential volume for anyone open to exploring new paths.

    Pictures and text (c) the british library and amazon

    — 6 months ago with 2 notes
    DUPE chats to Illustrator Jodie McNeil about naked polaroids, Berlin & Jockum Nordstrom

    Jodie’s illustrations grab you instantly and make you feel like a peeping Tom. Nudes of soft bellied men and women going about their day to day lives are captivating….

    DUPE chats to Jodie McNeil here

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    You have only just recently graduated, what’s next for Jodie McNeil? 

    I’m applying for graduate jobs at the minute, and then if I can save up enough money I’ll apply to do a masters in Berlin or London.

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    Describe your work in five words.

     My tutor Phil Wrigglesworth described my work as ”considered naivety” so I’ll let him describe it in two for me, cheeky sod. 

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    Where do you get your inspiration from? Are these characters from your day-to-day life?

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    When I was studying in Berlin my friend found some polaroid’s of a naked old couple and I loved how nonchalant they were while posing. I couldn’t stop thinking about the couple, so I illustrated a story around them. Most things that inspire me come from things I’ve found in markets or second hand shops, I found a family photo album from the fifties not long ago and made a book based around that. 

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    Do you have a favorite piece of work that you’ve done so far?

     I’ve got a least favorite if that counts? Erm if I had to choose then probably the house with the front wall cut off so you can see what everyone is doing in each room, there’s the old woman going about her business stark-bollock-naked which has petrified the cat, while her husband remains oblivious in the bath. 

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    Where was your favorite place to holiday as a child?

     My mum couldn’t really afford to take us on holiday when we were younger, so she would take me and my little brother to visit our Uncles, Uncle Steven, who lives in Whitechapel and Uncle Billy who lives in the middle of nowhere in Wales. He had a forest for a garden so we’d make tyre swings and go walking up hills and stuff.

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    Who are your favorite illustrators/artists and why?

     Jockum Nordstrom is one of my absolute favorites, I love that his hand-collaged figures seem to be innocently riding horses or dancing but there always seems to be something strangely sinister going on. Viva Vidali is another good one, he works with collage too and his blog is amazing but his work is a bit more child friendly. I’ve also recently become obsessed with Vladimir Lebedev, after buying his book in the Arnolfini bookshop in Bristol.

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    If you could take one book on a road trip, what book would this be?

     The man who grew his beard by Oliver Schrauwen, it’s well and truly mental and every time I read it I see something I’d missed the time before.

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    You’re from Bristol; tell me your favorite thing about the city?

     I’m not from Bristol, thank god… I’m from Liverpool, but I went to University in Bristol. I don’t know why I like Bristol so much, but I’m still here four years later so it must be doing something right.

    — 6 months ago with 1 note
    #http://www.jodiemcneil.com 
    DUPE talks bike culture with CycleLove founder James Greig

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    (Photo: George Marshall for Rapha Survey)

    Give us a brief idea of how and why CycleLove started…

    When I moved to London I hadn’t ridden a bike for a decade or so. All my friends were cycling and eventually I caved in and got a crappy hybrid bike. It kind of snowballed from there and before I knew it I had three bikes in my bedroom. But when I looked online for websites about bike culture… just normal people doing cool stuff with bikes… I couldn’t find much happening. So I decided to start my own blog. It was good timing because I was becoming increasingly jaded about my day job as a graphic designer, so CycleLove became something I could pour my heart and soul into instead. I began by going out on the prowl around East London with my camera, looking for interesting characters on bikes. I then moved on to interviewing people involved in London’s bike scene and after that reporting on bike culture elsewhere in the world.

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    You launched with a screening of the inspiring ‘Bill Cunningham New York’ documentary - why is he such an influence for you ?

    Basically I watched him tootling around New York on his bike whilst shooting this amazing street fashion photography, and it inspired me to dust off my SLR and start taking photos again myself. On top of being a great photographer, he’s also a supremely genuine and humble guy. Here’s one of my favourite soundbites from the film:

    “You see, if you don’t take money they can’t tell you what to do. That’s the key to the whole thing, don’t touch money! It’s the worst thing you can do. Money is the cheapest thing. Liberty is the most expensive.”

    Without Mr. C (I hope it’s ok to call you that Bill…) CycleLove wouldn’t have happened.

    What’s this about you cycling 100 miles to meet your first customer?!

    When I began selling t-shirts I wanted to do something to mark the occasion… having someone willing to part with cash for my products was a big milestone so I wanted to mark it accordingly. I made myself a promise that I’d deliver the first order I got by bike. And then I sat back nervously and waited for the emails to come in. Luckily for me (or not) it came from Peterborough which is around 100 miles north of London. I did the delivery on my own so it was tough mentally, and it was November so the weather was a wee bit nippy too. But the smile on the guy’s face when I got to the pub in Peterborough and explained the story made it all worth while.

    What have been the best and most difficult parts of turning your passion into a day job?

    The problem is that I haven’t managed to turn CycleLove into a day job yet — I’m still working as a graphic designer to pay the bills.

    If anyone reading this is planning to make a living from blogging… remember that a blog is not a business. It’s really just a way to build connections, tell stories, and to gather a tribe of like-minded people around you. As for the business part… I’m not 100% sure how that is going to pan out yet. Selling t-shirts and prints has been fun but I don’t think I want to build a fashion brand. I get a real buzz from discovering new cycling brands and products so that’s something I’m going to carry on doing for sure.

    Lastly, I saw someone wearing one of my t-shirts in the wild for the first time recently and that gave me a real buzz.

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    One thing I’ve noticed about the blog is the collaborative aspect - working with cycle brands/stylists/other bike enthusiasts etc. Has this been important to the growth of CycleLove?

    Absolutely. Running the blog has opened so many doors for me and I’ve met a lot of cool new people in the short time that it’s been running. People who ride bikes are a pretty friendly bunch in general. I’ve not spent any money on promoting CycleLove other than on the Bill Cunningham screening, so I rely on word-of-mouth and the goodwill of my readers.

    I’ve thought a lot about how I’d prefer to get around by bike but so far have been too scared! What are your top tips for cycling in London?

    (1) Get a buddy who’s already cycling to show you the ropes. Then you can ride your commute to work on a Sunday and get a feel for it with less traffic around.

    (2) If you’re not feeling confident about where you’re going or a turn coming up, there’s no harm in stopping. It’s not a race. Pull over for a second. If you need to turn right across a junction, try a “Copenhagen Left” (well, the opposite of this as we’re on the other side of the road from them) where you turn left first, and the turn your bike and straight

    (3) Smile. Riding a bike should be fun. You’re not a commuter zombie any more :)

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    Do you have a favourite cycle ride / trip that you’ve been on?

    I live on the north edge of Victoria Park at the moment which is the largest green space in East London. So my new favourite ride is just cruising around the park. I try to leave my phone behind and just enjoy the ride.

    Tell us about your recent trip to the Alps and the training involved…

    Training was difficult because London is short on hills. I was going up to Swains Lane in Highgate which is a mecca for road cyclists because it has a steep section of road which is one-way and doesn’t get much traffic. But it’s only a few hundred metres long so you have to do it on repeat. By the end of my training I was doing it 12 or 13 times in the row, which equates to about 1000m of climbing. On top of that I’d do interval training around Regents Park, and head out to Essex for longer rides at the weekend.

    But of course not of that can really prepare you for riding up a mountain. It took me about three days to get in the right place mentally when we got to the Alps. The guys I went with had been training about 3 months longer than me so they’d disappear up the hill and I’d be left on my own having a freakout. There were a few moments where I wanted to just throw my bike off a cliff and go home. Eventually I got into the swing of things and began to enjoy the pain. I guess that’s what road cycling is about… pushing yourself mentally and physically and seeing what happens. You can’t do that behind a desk. And the epic views at the top of the mountains, down from amongst the snow onto these winding roads, made it all ok.

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    What’s next for CycleLove?

    I’m working on some new product designs: t-shirts, jerseys and posters. One of them may or may not be Kraftwerk influenced. There are also plans for an exhibition next year and some exciting collaborations with other cycling brands on the horizon.

    Lastly what 5 songs would you put on a road trip mix tape?

    Ha, I don’t ever listen to music on my bike. And I can’t drive so I don’t do road trips. If I did though… maybe “A Real Hero” from the Drive soundtrack, Kraftwerk’s “Autobahn” (the 22 minute version obviously), some Johnny Cash for singing along badly too, “Jabdah” by Koto (dodgy Italo-disco) and lastly “Dry The Rain” by the Beta Band as we’d most likely be driving around Scotland in the pissing rain.

    All photographs by James other than profile (George Marshall for Rapha Survey)

    Check out CycleLove here:

    www.cyclelove.net

    — 7 months ago