It’s easy to see artist Eva Hesse’s life as a huge Hollywood epic, filled with love, passion, tragedy and early death. She was not only surrounded by some of the most influential artists of her time, she was one of them. But Marcie Begleiter’s documentary about the artist takes another route, focusing on remarkable artworks and a personality that resonates through time.
It was in graduate school that filmmaker Marcie Begleiter first discovered the artist Eva Hesse. She was looking for something else than the ironic, sometimes distanced work that was lauded in art magazines in the late 1980’s. “I wanted a deeper connection,” Begleiter reflects. “When I saw Hesse’s work in reproduction I was very moved. It was smart and logical, but it also pushed against that with droopy materials. It had a great shifting to it. Eva didn’t simply find something that worked and stayed there, she shifted and changed.”
It’s hard, almost impossible, to describe Eva Hesse’s work in words. During her active years the expression and method was in constant development, and her journey from painter to sculptor shifted with an almost forceful passion. She would within her short life become one of the most important and influential artists of her time. Showing her work together with contemporaries like Carl Andre, Dan Graham, Mel Bochner and Sol LeWitt – almost always as the only woman in the group.
Her early work is mainly abstract paintings that during a residency in Germany started taking a more physical form – somewhere in between a sculpture and a painting.The later sculptures, made in her final years before losing the battle with brain cancer at the early age of 34, are big evocative constructions made with latex, fiberglass, rope and a mixture of mechanical trinkets. But still with a soft, almost sexual appearance.
Eva Hesse in 1968. Photo by Herman Landshoff. Eva Hesse. A film by Marcie Begleiter. A Zeitgeist Films release.
Eva Hesse lived a life that kept shifting and changing as much as her art. A life that would have been impossible to do justice without the participation of the artist herself: the documentary is built around Hesse’s journals and letters, kept in the collection of Allen Memorial Art Museum in Oberlin, Ohio. With this extensive collection of writings (1 200 pages), Marcie Begleiter created a film where the artist’s voice rings clear. Through Eva’s own words (read in the film by actress Selma Blair) we are told an extraordinary story of a rather unusual life.
Eva’s life has the stuff of a true drama: Born to a German Jewish family in 1936 she was at age 3 put on the Kindertransport and sent to Holland together with her older sister Helen (only 5 years old at the time). Their parents managed to get out of Nazi Germany and collected their daughters at the Catholic children’s home where they were staying before they all fled to New York. The rest of their relatives were killed in concentration camps, a tragedy that deeply affected Hesse’s mother.
But the hardships didn’t end after the emigration. When Hesse was 10, her mother, in the wakes of a mental breakdown, committed suicide by jumping from the roof of a building. Later in life Hesse’s marriage with artist Tom Doyle would end in a bitter separation, and her beloved father would die suddenly and unexpectedly, leaving Hesse anxious and with a deep sense of abandonment. Still, Marcie Begleiter’s documentary isn’t tragic: It’s full of passion, art, humour and most of all of life. Until the very last breath.
– Ten different filmmakers would have made ten different films. I’m interested in artistic process and materials. There are aspects of Eva’s life that could be made sensationalistic. You have to allude to some of these things, because they are a part of the story, but what’s interesting is this person who faced enormous challenges in her life. Personal challenges and challenges in terms of the world around her, and still she found the persistence and the intelligence to create extraordinary drawings, paintings and sculptures. Even during the last year of her life, when she was greatly ill, she never stopped working. Not even from her hospital bed. And she had a great attitude about it: life doesn’t last, art doesn’t last. We still live our lives in the face of that fact.
The narrative is largely based on Evas letters and notes, could you tell me a little bit more about how you encountered and approached them?
– I had read Lucy Lippard’s book, and she quoted Hesse’s journals. A friend of mine, an arts librarian, told me that the original texts were in a tiny library in Ohio at Oberlin College. I can’t even tell you what compelled me to do it, but I wrote a grant proposal and I got funding to spend a couple of weeks reading through the material. The people at the library would bring me boxes and boxes and I sat there with white cotton gloves on and went through Eva’s personal papers. In the journals there were drawings, postcards from friends, announcements for shows. Her friends, once they knew that there was a library that kept her papers, sent in what they had. It’s all sorts of ephemera. It blew my mind. Here was this authentic, smart, insecure but absolutely self confident – kind of flipping back and forth between the pages – woman. I felt such a deep connection with the person that I encountered.
And after that you became interested in her as a subject for a documentary?
– Coming out of that first reading of the diaries I wrote a theatrical piece. A producer and friend of mine, Karen Shapiro, saw it and wanted to move it to a bigger venue. I felt that we had to get someone from the estate onboard if we wanted to do something bigger. My desire in meeting the people who knew Hesse was to begin a conversation about doing that project. But once I met Lucy [Lippard], Helen [Hesse–Charash] and Tom [Doyle], I felt it needed to be a film. I called Karen and told her that I met some interesting people in New York and that I had another idea. And she said “Oh you want to make a documentary, don’t you? ” and I answered “Yes, how do you know?” she said “I saw it in my meditation this morning. If you want to do that, I’ll produce it.” So I called Helen, to make sure that no one had done it before. She was extremely encouraging and very supportive in terms of giving us access to all materials they had.
Which part of Hesse’s life do you find most defining for her as an artist?
– I find it fascinating that she went back to Germany. This is 1964, less than 20 years after the end of the war. I went there in the 1980s and I had a hard time with it. But she went back to work in ’64, after everything that had happened to her family. She took the advantage to see Europe as an adult, to live without having extra jobs and just work. It was in Germany, partly under the pressure of being there, that she put aside traditional painting and started making three dimensional objects. That marked a real change for her. She started coming off the canvas. In the film it’s really the inciting incident of her life, that’s the change. She came back and she shot off like a rocket.
Did working with the film effect how you see and relate to Eva’s work today?
– I have come to the point where you can show me a drawing and I can pretty much nail the date of creation, within a year or two. There is a familiarity with the work that has deepened. What surprised me, is that after these years of working with her writing and her art, it has stayed fresh. I still find things that she wrote to be interesting, eye opening, inspiring and so thoughtful. It doesn’t get old.
Eva Hesse in 1966. Photo by Gretchen Lambert. Eva Hesse. A film by Marcie Begleiter. A Zeitgeist Films release.
I found the quote “Excellence has no sex” very inspiring. Do you think it’s relevant to mention feminism when you talk about Eva an artist?
– You can’t talk about feminism as if she was part of a movement, because she didn’t participate politically in that conversation. But she was defined by who she was, and not by what other people thought of her. In her lifetime she refused to be categorized as a female artist and she wasn’t in shows with only women. She wanted to be, aimed to be, and was, a part of the general conversation. That’s certainly a feminist stance even though she wouldn’t have used that language. Looking back, female artists of the 70s and 80s certainly saw Hesse as a touchstone, as someone who was being recognised as a peer with male contemporary artists. She was just doing what she needed to do and saying “I’m one of the best”.
From seeing the film it seems to me that whenever Hesse faced hardship, she grew. That it adds to her creativity.
– Everyone has tragedies in their life, maybe she had more than others, but it’s what she did with the tragedy that makes it interesting. That compels us to want to know more and gives us, the people looking, a connection to her bravery. Her tenaciousness and humour. I was talking to Rosie [Goldman] who’s in the film, she told me that she’d never seen anyone face death the way Eva did. There was no regret there. No regret. She was living every moment to the end. I really wanted to put that in the film. In our culture death is sort of a taboo issue, in America death is seen as a failure. A failure of modern science, a failure of medicine, a personal failure. We live a good life. We need to have a good death. And that’s something Eva did; she died a good death.
Emma Tillman’s photographs chronicle the unseen moments in life, those, to steal from Virginia Woolf, islands of meaning which shore up against the ferocious momentum of time. It’s fitting that her book Disco Ball Soul, was named such: thoughtful, investigative and lingering, her portraits of friendships, romance and the natural world offer an energising and playful mosaic of her experience of the world. Here, she tells Twin about the images which have most impacted and shaped her life and work.
Alberto García-Alix
Alberto García-Alix is a Spanish photographer from León whose work was part of a movement that shaped modern documentary photography, but to me he is so much more. And that is where I will begin with this list. I would say in a word, he is shameless. And it is this shamelessness that draws circles around the core of ugliness and strangeness, illuminating it until it is light, despite all its rugged detail.
Taryn Simon is an American artist from New York City. Although I had come in contact with her widely regarded and well collected photography a handful of times in my adult life, I had not been touched by its power until one lonely afternoon at the Tate Modern in London. I wandered into a room full of her work from “An American Index of the Hidden and Unfamiliar” and finally understood.
That rainy day I explored the gap she so eloquently elaborated on. Between the brilliant precision of her semiotic examination of secrets and the divine poetry with which she captures them. Simon raises very potent questions, with elegance and beauty.
Manuel Álvarez Bravo was a Mexican photographer from Mexico City and is considered one of the preeminent art photographers in Mexican history. His interest in elevating the quotidian at a time when photography, especially in his home country was staged and highly formal, attracted me from an early age.
In addition to his pioneering reach in exploring the everyday, Bravo sees texture as something deep and mysterious, almost sacred. These observations have haunted me from the time I was a little girl, looking through one of his books in the vast living room of a family friend.
Graciela Iturbine
Graciela Iturbine is a Mexican photographer from Mexico City, and protogée of another photographer mentioned here among my favourites, Manuel Álvarez Bravo. She turned to photography after the death of her six year old daughter and when I look at her images, they all seem to have the lingering sadness and mystery of death, even when the works are capturing subjects which are vividly alive. Otherworldly would be a better word, but overused, don’t you think?
Graciela Iturbine, Cemetery Juchita 1988
Ruth Orkin
Ruth Orkin was an American photographer from Los Angeles who was largely self-taught. She had a ground-breaking career as a freelance photojournalist during a time when the field was, of course largely dominated by men. But it was my contact with her famous photograph, “An American Girl in Italy” (1951) which includes her in this list. When I was twelve or thirteen, I was given a postcard which featured the photograph on the front.
I became obsessed with the story it told. There was an incredible amount of complex information contained inside. Historically, the photograph is somewhat controversial, and seems to be a Rorschach test for personal ideas about feminism. I for one, knew exactly what it meant; independence, freedom and self-determination. For that reason, I can’t say the photographer directly influenced my work as much as my way of life.
One night, many years ago now, I was at the Chateau Marmont waiting for someone who never came. The bartender, feeling bad for me, very graciously stayed past last call and regaled me with ghost stories from the hotel. One of them was the story of Helmut Newton’s death; a car crash in which he drove headlong into the formidable white wall guarding the hotel’s entrance. Until then, I had always heard his name but never quite put the pieces together, you might say. But his tragic demise piqued my interest and when I discovered his world, I was enchanted. Everything he photographed had a perverse sexiness. It was dark, physical, and expressed a glamorous power that I saw mirrored in my own interests.
I think about him now every time I pass that white wall, and say a little prayer for all who flirt with the dark side.
Henri Cartier-Bresson was a French photographer from Paris. The king of composition! The king of the candid! And man, what a life well lived. In 1952 he published his book, “The Decisive Moment” about his philosophical approach to photography (with cover illustrations by Henri Matisse, I might add). In it, he contends “To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.” And I couldn’t agree more.
Sally Mann is an American photographer from Lexington, Virginia who stirred incredible controversy in the 1990s for photographs of her children, mostly in the nude on the Virginia farm where Mann still lives with her family. I think the images are incredibly beautiful, touching, and unflinching. I love a little controversy if the source is worthy, and to me, these photographs have most definitely been an inspiring and worthy source for years.
From the 18th January until the 25th February 2018, the Zabludowicz Collection will host Siobhan Coen’s Unknown Knowns, an installation featuring the voice of former US Secretary of Defense Donald Rumsfeld, alongside LED pulsating light that saturates a large print of brightly coloured pixels, creating a hallucinogenic work that is both seductive and destabilising.
Siobhan Coen focuses her work on the function of the human mind. Her research into scientific theories of consciousness and perception is brought into dialogue with social realities, and her examination of neurological, technological and political information-filtering makes her work particularly relevant. We spoke to Siobhan about Unknown Knowns, the inclusion of political figures in her work, and her artistic methods.
Can you tell us about your piece Unknown Knowns?
It’s an evidence-based fiction. I have re-edited the voice of Republican Donald Rumsfeld from his audiobooks, extracting abstract statements until they suggest a narrative. Rumsfeld emerged as an aesthetic philosopher-type character intent on changing the way we see. The audio is combined with pulses of programmed RGB lights that animate a panoramic pixelated print, creating an illusion of movement.
How has the work of artist Brion Gysin informed your practice?
I had always felt a bit short-changed by how little of the information we receive through our senses actually makes it into our consciousness. I read a study by Professor David Nutt, which found that taking hallucinogenic drugs reduced this unconscious brain filtering. Subsequently, I was drawn to Gysin’s Dreamachine – a device for inducing hallucinations from flickering light effects – as a way of accessing all that missing data, and also to explore the possible psychedelic effects of reduced information filtering in society. I have also been influenced by his cut-up technique, a method of rearranging text in order to find truth.
How does your work examine visual perception and unconscious control?
I rework the component parts of digital communication – RGB light, pixels that make up images, and the words of those with the loudest voices – to examine how their qualities rather than subject matter, might affect us beyond our conscious awareness. Questions of how human perception can be manipulated and altered are pretty timeless, and I hope my project is open enough to relate to different cultural and technological moments. In fact, I’m drawn to how these things can be cyclical. For example, Steve Jobs believed that the feeling of connectedness from taking LSD in the 1960s allowed the internet to be imagined. And the internet now seems to be producing a slightly hallucinogenic effect by reducing information filtering. There’s a looping of cause and effect.
What methods do you use to create tension between form and content?
I try to edit the voice so that it sounds believable, in order to highlight how form rather than content can determine what we perceive to be true. But also, the process of maintaining speech rhythms prevents me from imposing my thinking. I find that both the narrative and visual elements become largely dictated by the form rather than the content of the writing. Rumsfeld’s books were full of proclamations and advice, they had a quality of persuasion or seduction that suggested projection to an outer world in order to change it.
How do you put the audio and visuals together to create the final piece?
I create the audio and visual elements in parallel so that they feedback into each other. I find it a way of exploring my interests through a system of embodied cognition, rather than doing so purely intellectually.
How do you choose which political figures you want to incorporate into your work?
I first used the voice of Tony Blair from his audiobook A Journey (2011) – he just struck me as someone who had seen things that weren’t there, so he was a good figure to talk about my interests. In my research I became interested in the political rhetoric of that era, the turn of the millennium, as potentially the beginning of the post-truth phenomena that surrounds us today. Rumsfeld’s abstract language stood out as something very particular however, in the way he deployed it to defocus attention.
What do you hope viewers will take away from the installation?
I hope the piece offers a refocusing of attention, and a shifted view of material that might feel at first familiar. I think of the project as being about truths hiding in plain sight. And at the very least, visitors get to take away a printed transcript if they wish.
Zabludowicz Collection Invites: Siobhan Coen, 18 January – 25 February 2018, Zabludowicz Collection, London, www.zabludowiczcollection.com
A new exhibition at the Fahey/Klein Gallery in Los Angeles brings the evolution of the female gaze to the forefront of the narrative. Aligning an international rostra of women artists, the exhibition celebrates a new era of photography in which the body is examined rather than objectified; observed rather than owned.
Exhibitors include Amanda Charchian, Remy Holwick, creative duo Honey Long & Prue Stent, and Magdalena Wosinska, who together offer an exciting harbinger of the future feminine narrative in photography.
Images span the mystic and mythic to snapshots of the mundane, with Charchian drawing inspiration from psychologist J.A. Lee’s interpretation of Greek philosophy, Prue Stent and Honey Long focussing on powerful juxtapositions of material and colour and Wosinska offering raw, intimate portraits.
The future looks bright, the future is female.
Future Feminine is at Fahey / Klein Gallery from January 18 – February 24, 2018.
In many ways 2017 has played out like the opening of Love Actually, in that, while unprecedented levels of political and horrors at home and abroad (Donald Trump being elected as President of the United States being just one of them) it was also a year which saw the widening of society to accept, and champion the many diverse individuals that make up society. It was a year of hope, love and a refreshed sense of community, as well as destruction and devastation. This cultural revolution was seismic and long overdue; the fact that it happened, though, at least ensures that while the struggles to ensure fair and diverse representation, pay, the future looks just a little bit brighter – even if Trump is still in power.
One of the many exciting new voices to have emerged this year is the 19 year old trans model Maxim Magnus. Her journey began at 14, when she started transitioning, and five years later she has already partnered with Gurls Talk to speak on their panel in Berlin and has featured in campaigns for the likes of My Theresa x Valentino and MAC Cosmetics, as well as opening the first show at fashion week this year.
As such, Maxim has become a leading voice in the LGBT community, inspiring others with her personal story as well as her activism through her Instagram page. Twin caught up with Maxim to talk about her journey so far, the role fashion can play in activism and what’s in store for 2018.
What were your experiences of growing up as a trans woman?
Growing up I was always a very happy child, even though I knew something about me was ‘different’; I never made anything of it. When I was 13/14, I realised I was in the wrong body and something had to change. Finding out you’re stuck in the wrong body is awful, but it’s even worst when you realise it in the period where everyone around you is starting to develop and starting to do things you can’t do, like having sleepovers, or talking about boys, etc. All very superficial things, but very important things to a person of that age. I had been bullied before coming out as trans, so when coming out, I was always really defensive when talking to people about it. I think growing up trans made me grow up a lot quicker than the people around me, because I had to deal with issues teenagers shouldn’t ‘normally’ have to deal with. I constantly had to think about how I was presenting myself, doctor’s appointments, depression. Even though I had a lot of friends growing up, I experienced loneliness a lot.
Were you instinctively drawn to fashion as an industry, and how did you get into modelling?
I have always gravitated towards the fashion industry, probably since the moment I could talk. From a young age I would look at all of the fashion magazines or go through my mom’s closet and I would get so excited to get dressed every morning. When I was a teenager, I used fashion to show people my true identity and gender. I was always really fascinated by models, but never thought I would be able to be one. It was one of my teachers at Conde Nast who approached me and told me to start modelling.
How do you see fashion and activism aligning?
When you look at the history of fashion, it is very clear that fashion and politics are close. What happens in the world affects the fashions of a certain period. Right now, human rights are more talked about than ever before and the fashion industry is supposedly full of the most open and creative minds, therefore it would only make sense that these individuals are the ones speaking up. The industry is also highly influential, and it has an enormous platform to reach people, to me, it only makes sense to use that platform for the greater good, as well as to show the beautiful creations made by these artists.
Who are your favourite image makers?
My taste in photographers really varies. I love the old-school classics from Helmut Newton, but then I also love the amazing fantasy world of Tim walker, and the raw over-exposed mind of Juergen Teller. I am absolutely obsessed with photography, I could talk about my favourite photographers for ages.
What changes have you observed over the last 5 years both within the transgender community and society as a whole, and what are you most proud of?
In the last 5 years, the community has gotten so much exposure. When I started transitioning around that time, there was not as much information about the community as there is now. I think rights-wise a lot has changed as well and I’m super happy that parts of the world are finally embracing the community, even though there is still a lot of work to do. I’m super proud of all the individuals who have powered through and become their beautiful selfs, because it is hard; even in today’s society.
You recently worked with Gurls Talk – what was that like, and how did you find the reception amongst that community?
Working with Adwoa and her team was one of the best experiences, and probably my highlight for 2017. They welcomed me with such kindness and they were so open-minded, it was amazing to work with a group of people who have the same mindset as me. Dr. Lauren and Alexa, who were also part of the panel are also two amazing people and I loved working with both of them. After the talk, some girls came up to me and they were crying, that really touched me – I never want people to cry when they listen to my story but it’s nice to know that a) people can relate to my story and b) that what I’m doing is actually helping some people.
What are your views on how the industry moves the conversation forward and enacts positive change over the next 5 years?
I think the industry has to want to change, and they shouldn’t do it just because people are telling them to or because it will bring them good press coverage. Just the same way that I don’t want to be hired as a model solely because I am trans. I think the industry owes it to the world to use its platform to talk about these issues, and to embrace every type of human being – this doesn’t just go for the trans community. I can only hope that the industry will move towards a more diverse range of humans, as fashion should be inclusive.
What’s in store for 2018?
I have a lot planned for the new year. Firstly I hope to graduate from university. After that, I hope to be able to fully focus on modelling and activism. Right now, I use my Instagram platform to get my message out there, but I would like to do a lot more in I can only hope that the industry will embrace me, but so far I have gotten so many amazing opportunities which I am so grateful for.
Celebrate the festive period at this Friday, 15th December with a Harley Weir book signing at Claire de Rouen.
Harley Weir’s new book, Paintings offers a different focus for one of fashion’s most iconic contemporary photographers, shifting the subject matter from humans to paint and texture. The images contain the same energy and precision as her portraits, playing with rhythms and juxtapositions within a more confined space.
Stop by the hallowed book shop this week to pick up your own copy – and browse the rest of their beautiful stock (including, of course, Twin).
Rose McGowan was awarded Time Magazine’s Person of the Year award 2017, an acknowledgement of the incredibly brave and powerful work that she, and the many other women who spoke up against sexual abuse in the wake of the Weinstein scandal, have enacted this year.
“I’m not saying things that are earth-shattering. I’m just the only one saying them” McGowan commented in an interview with The Fall earlier this year – speaking then she couldn’t possibly have known the cultural shifts and change that her actions have since engendered. Because of women like McGowan, and those who followed from her lead, 2018 looks set to welcome a new era for gender equality where previously engrained cultures amongst elites from all industries have been broken, we hope, for good.
“I always felt that members of my family were eccentric characters that could have starred in their own movie” says Bobana Parojcic. The Serbian make-up artist paired up with photographer Sarah Louise Stedeford, along with stylist Lee Trigg and Tom Wright, to celebrate her family’s rich history within the settings of their home in Oxford, The Palace Hotel.
Nostalgic and vivid, the photographs pay homage to the transitions and journeys at the heart of the family story. “The women in my family were always powerful, strong role models that held the family and glued everything together” adds Bobana as she recounts her family left behind communist Yugoslavia to make a new life in England in the early 1970s.
Having settled at The Palace Hotel, the space has come to represent not only where Bobana’s family built their home, but also a haven of conversations, memories, events and romance.
Monica Kim Garza’s paintings have the feel of lazy untouchable bliss. In her colourful world indulgent, semi nude or stark-naked women go about their business without a care – chronicling the everyday life of the artist herself. The scenes include drinking tea at home, playing basketball and having sex. Her voluptuous ladies are not self-portraits though, nor are they from any specific place or culture; they are more like an embodiment of Monica’s Mexican-Korean-Vagabond-aura. Throughout the years she’s moved around a lot. Her years of traveling to faraway places like Korea, Thailand and Peru have left traces in her work. It wasn’t much more than a year ago that she decided to move back home to the small town just south of Atlanta, Georgia to be close to her a family and to finally focus solely on her hibernating desire to paint.
Twin caught up with Monica to talk chicken wings, sensuality and balancing abstraction.
At the time I was living in New York and I was working a regular job. I felt kind of, I don’t know, kind of suffocated. It was too much concrete.
I started to make some artwork and I thought to myself “oh this is my dream. I should try to pursue it.” But New York is so expensive, and I couldn’t paint and work at the same time – so I just decided to move in order to afford to be more creative. I moved in with my parents and I worked part time at a chicken wing restaurant. It was really sad.
I can totally imagine a painting with one of your girls eating chicken wings.
Your work is very sexy regardless of the situation depicted, a girl on an exercise bike is just as hot as one of a couple having sex. Do you consider your work sensual?
In think there is sensuality in the sense that the characters in my paintings are free. There is a kind of confidence when you feel free and I think that it’s sexy. You have this sensuality when you’re not burdened by anything and maybe that’s the feeling I’m putting there.
What do you think is so captivating with naked women lounging about in everyday situations?
Maybe the fact that there is not that much fashion, it is so free. I think even men can relate to it, it’s just like a human connection. Maybe people can relate or feel because they can relate to who I am as a person. In a way many of us have experienced the same situations, or can see something similar to it in the paintings.
The reason I like the female form is because of the shape. I’ve always really been interested in geometric shapes, and for me the female form is perfect. You can move it in so many ways. If you really looked at a woman you could create a box within some portion of the body, or a circle for the breast, or even a rectangle under them. Whereas the man’s body is a little bit harder. More straight lined. You don’t get all these great geometric shapes.
Is that why you keep coming back to the same motif?
To be honest I just come back to it because it is so easy, it’s something obvious to me. My main focus as an artist is much more on colour, contrast, medium and composition. The motif is just so clear to me that I’m free to explore other artistic aspects of painting, I’m trying to find this balance of being abstract and not abstract. I’m always trying to see how far I can push it.
You mentioned that you keep five to ten paintings on rotation, constantly jumping from one painting to the next. How does this way of working inform your paintings?
Normally when I finished one painting the next one that I go to will have some kind of inspiration from the one before, some kind of element or colour. The reason that it takes so long for me to paint anything is because I change the colours too many times. I just can’t decide.
Your women are happy, confident, curvy and of colour, that speaks to a lot of people. But if I’m right you’re not consciously trying to give a more nuanced view of women?
I definitely get a lot of questions about body shape and skin colour, but for me it’s never been done consciously. My main focus is to create these beautiful paintings with geometric shapes and colours I like. But I’m happy to hear any positive feedback on anything.
Have you become more conscious after hearing these comments?
Actually a little bit. I do think about what people say sometimes, and it encourages me to go forward with my love for colour, abstraction and shapes. It’s almost allowing me to do more, because I’m telling myself not to be scared and to do anything in my work. But I don’t necessarily want to be a spokes person. I just really, more than anything, want to be a great painter. Almost desperately.
Monica Kim Garza will show her latest work December 6th at Untitled Art fair in Miami.
Premiering on Nowness last week, a new film by Rosanna Webster and Phoebe Henry captures the spirit and energy of Cuba, offering a vivid, energetic portrait of a country in flux.
The film is rendered in deep, rich colour, with a buoyant soundtrack that, along with the fast-paced narrative, sweeps the viewers into the heart of the country.
“Cuba gets under your skin; it’s a complete sensory overload, chaotic, colourful, unapologetically loud and in your face.” The pair said of the film, adding that “Life spills out on to the streets, people constantly approach you. The culture has a tempo and a pace that gets under your skin. We were instantly immersed in this and wanted the film to encapsulate this uninhibited, vivacious and spontaneous culture.”
‘But in actuality, as we all know, things as they are and as they have been, in the arts as in a hundred other areas, are stultifying, oppressive, and discouraging to all those, women among them, who did not have the good fortune to be born white, preferably middle class and, above all, male,” Linda Nochlin wrote in her seminal essay Why Have There Been No Great Women Artists? published in 1971. The essay highlights the ways in which institutional barriers have suppressed the voices of female artists throughout western history, acting as a foundational text for feminist art theory. It only takes a scroll through Katy Hessel’s Instagram account @thegreatwomenartists for one to be reminded of all the voices that were silenced; all the brave, provocative and breathtakingly intelligent female artists – from 18th century portrait painter Maria Verelst to sculptor Andrea Zittle to contemporary photographer Nydia Blas.
It is Instagram that has become the common denominator in the curation of Hessel’s first exhibition The Great Women Artists: Women on Instagram – an exhibition which will feature fifteen UK-based female artists who have used Instagram as a mechanism to showcase their work. Speaking to a following of over 600,000 Instagram users globally, these artists have a very powerful voice indeed. The show questions what it means to be a female artist in an era dominated by notifications, and asks whether this has facilitated a greater emancipation from the instruments of oppression for the women of this generation?
The theme of the exhibition is interesting as it seeks to display the works by these artists in a way that has been rarely seen: face to face. We are encouraged to take our eyes off the cracked screen of one’s iPhone and flock to Mother, London this Thursday to engage with the work in a more tangible manner. One featured artist is Dolly Brown, or @londonlivingdoll, a visual and performing arts photographer based in London. When asked what viewers will find most surprising about her work when they see it in real life she remarked: ‘I think that after people become accustomed to seeing your images on a very small scale on their phone, it must be a pleasant surprise to see them printed large(r). The first time that I showed work “in real life” I printed as large as I possibly could, I think simply because I was so excited about the prospect of the images having a life outside of the phone. The hang that we are going for in this show is a grid so it replicates the way that the images are presented in Instagram, but I think this is also an indication of how the “gallery” on Instagram has encouraged me to shoot in series and to think about how all the pictures will look together when they are eventually posted.”
There is a broad range of participating artists, including Juno Calypso (@junocalypso), whose self portraits have won her prestigious awards including the Series Award at the 2016 British Journal of Photography International Award; Kate Dunn (@bellissi.mama), whose earthly toned oil paintings revive the traditional medium; and Unskilled Worker (@Unskilledworker), who has been commissioned by fashion’s great including photographer Nick Knight and brands such as Gucci. The artists conquer a wide array of themes including feminism, womanhood, politics, diversity, mental health, colour and form.
‘Whatever else Instagram is, it has given me the opportunity to work with artists and performers that I never would have been able work with, had it not been for the app, ‘Brown praises the medium for its ability to connect female artists globally – to share common issues, grievances and ideas. Whatever you do this Thursday, it might be worth getting off Instagram and coming down to see the exciting collision of female creativity in real life.
The exhibition is at Mother London, E2, from November 13-17th, by appointment only.
Amélie Pichard celebrates sexy. Her shoe brand does too. Presented with her footwear, you meet a brand that has titillating sensuality at the core, partnered with the somewhat odd bedfellow of comfort – not necessarily a predictable alignment but refreshing nonetheless. Here is someone who is making a damn good stab at constructing the feeling of sexy, rather than simply the look of it. Aiming to exact empowerment and pleasure to women through artisanal technique and a certain retrograde sensibility, Amélie has opened her first shop, in the wake of her successful online business and a celebrated Pamela Anderson collaboration. Locking herself into bricks and mortar signals something new for the Parisian designer: cementing herself as part of the modern heritage of her city. Amélie wishes to be the female version of Hugh Hefner, to praise the natural sensuality of women. Her aim? To herald the woman: to celebrate sexy for the self.
She is free. This is the very first thing to realise. My girls, the Pichard girls, know what they want, when they want. I don’t do things because there are rules – I don’t care about that. Pamela Anderson was my first muse: for me she is the perfect Pichard girl because she is complex, a woman, a mother, an activist, a girl boss: exactly what I love. I don’t like girls who don’t work. What does sexy mean to you? Sexy for me is everything. For me it is so important, but it must be a natural sexy – it’s not about clothes or makeup, it is about attitude. When I look at your shoes, it is like you are trying to change what sexy means, and twist how it is traditionally a male-dominated word. Your brand seems sexy for itself… Before, to be sexy, women wanted very high heels. For me it is the opposite, because if you cannot walk properly because of your shoes, you are not sexy. For me, women wearing trainers can be more sexy than women who can’t walk in their high heels. I do shoes for the girl who has her bicycle, who needs to go food shopping, who needs to live and work.
In my shop, it is a lot of things, because I am obsessed with Hugh Hefner – I want to be the female version! I want the most beautiful guys working in my shop, at the door of chez Pichard. I put a bed in the shop because I wanted to make a shop not just for shoes: a place where people can stay and live, chill, and the bed was the way of doing this. The shop is a mix of the 70’s and a bar tabac, because the French spirit is very casual, and I also love contrast. That is why the front of the shop is green, like the bars of Paris, while inside the first thing you see is a bed dressed in Pink, in varying textures.
Hugh Hefner made something crazy. He enjoyed sex, he enjoyed women, because women are the most beautiful things on the earth. I have a big collection of Playboy at my place – for me it is my favourite magazine.
I make shoes to tell stories. Before this, I was making clothes, but I felt a bit lost as it wasn’t very artisanal – I love artisanal creations more than fashion. I love the way you make something. One day, I discovered the last shoe factory of Paris, and I fell in love with what they were doing. I saw one of the workers working in an atmosphere of the smell of glue, of dust, making these tiny and delicate shoes, and I just thought this is so cool!
It is always women of the past, who aren’t in our world anymore – they are from a time long gone so I can’t meet these women, I don’t know these women: it gives me simply fantasy, and everything starts with fantasy. Sometimes I just need to see an image – you know the movie Paris, Texas ? For five years I fantasised about this movie, despite having never seen it, just pictures – after that I designed a whole collection around the images I knew. For me it is all about fantasy, and telling a story I want to tell that is always between the past and the present. Once I have finished designing, shaped by the past, I will imagine the shoes on my friends who are modern and contemporary: if the shoes appear right then I am happy.
The launch of the shop – it was crazy because we made a fête au village, so all the street was totally full! We partnered with the bar opposite us and had a Claude Francois impersonator perform.
Rhythmic and undulating, Mel Bles’ Islands series of photographs captures the soulful connection between the body and nature. This new exhibition sees the fruition of what began as a mediation on the image as a two-dimensional object, evolving into a powerful sequence of bodies and landscapes connected by rich, inky lines.
Throughout the photographs, Bles captures the softness and intimacy of the female form; bodies are juxtaposed and composed against landscapes, holding the two in perfect tension without falling into traditional sexual or romantic tropes.
Mel Bles, Islands
The process of making the images themselves are also a study in texture. Some photographs are presented in the ‘purest form’, while others are offered in stages of alteration – revisited, reprinted, rephotographed on an iPhone, taken to a scanner, or upturned. The result is to offer miniature landscapes in and of themselves, which lure the viewer in individually as well as forming a powerful series in all.
Mel Bles, Islands
Mel Bles, Islands is on at the Webber Gallery, London: 20 October – 25 November 2017
Curation has somehow has become a dirty word these days. We think of a curator in the digital age as a bloodless algorithm editing the things we don’t want to see or interact with out of our feeds and experiences. The great shame of all of this is that curation in its truer sense is far less about editing out the things we don’t want to see and far more about shedding light on the things we didn’t.
A great curator – be that of an exhibit in a gallery or an assortment of bric-a-brac at the local car-boot – knows how to make things elevate each other within a fresh context. Discovering something in a single painting, say, is in and of itself an incredible thing, but being able to connect that indefinable something to a whole exhibition is where a curator shows their skill.
Shonagh Marshall is a Fashion Curator who embodies the contemporary make-up of the profession, and reminds us why curation is a job of such unique expertise. After completing her Fashion Curation MA at LCF in 2010 Shonagh went on to archive the Alexander McQueen collection ahead of the Met’s Alexander McQueen: Savage Beauty retrospective (!), and then to work on the Louboutin and Isabella Blow archives.
The rest of her CV is as impressive as those early projects would suggest, and since leaving her post as Curator at Somerset House in 2016 she has been flexing her muscles as an independent curator, as well as founding The Ground Floor Project with friend and AnOther Magazine Photo Editor Holly Hay.
With the fashion industry in recovery from a month of new collections, and ahead of the co-curated exhibition Posturing: Photographing the Body in Fashion (also with Holly Hay) now seemed like the right time to pick her brain about curating a disparate industry, and contemporary photography’s fascination with documenting the body within it.
Lurve Magazine, Issue 10, Spring/Summer 2016 | Posturing : Photographing the Body in Fashion
How did you initially get in to curation – did you always know it was a job that somebody did?
Not at all. I studied Fashion History & Theory as my BA at Central Saint Martins and when I finished I wasn’t sure exactly what job I wanted to do. As a freelancer I was employed as a researcher for Somerset House’s first exhibition in 2007, in its current cultural iteration. It was a traveling show called Skin and Bones: Parallel Practices in Fashion and Architecture and it was then that I realised that I was really interested in curation. I applied to do the MA in Fashion Curation at London College of Fashion as a result, and studied under Judith Clark and Amy de la Haye, which was the most amazing training.
What was it that drew you to fashion in particular?
I started my BA in Fashion History and Theory when I was eighteen. It gave a historical overview of dress from renaissance to present day and teaching into the application of theory. Being a curator you need such an overarching knowledge of a subject I don’t think I would have been able to focus on another subject. The tools I have picked up over the years in how to consider fashion, applying historical knowledge to assess the contemporary for example I think is so important. Art History is something I am fascinated by personally but I am absolutely no expert! I love so much about the telling stories about clothing within an exhibition, with projects like Isabella Blow it was about the tale of a life lived through the garments but then Posturing: Photographing the Body in Fashion, which is about to launch, looks at the practice and process of fashion photography by making the link between the body and the garment.
Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM
Archival work is very solitary and organised, it is all about the process you are putting in place. Through doing this work into catalogue, photographing and boxing and storing the objects you have such an affinity with them. You learn about every mark or pulled stitch and note it down. When you are working on an exhibition the process is all about building a team around you: the graphic designer, the exhibition designer, lighting designer, the install team, the conservators. As a curator you are telling a story through the objects, bringing to life what you have noticed in the archive, and the team all works together to realise this for the visitor. It was such a lovely experience to be able to work on so many exhibitions about Isabella Blow after archiving her collection, there are so many hidden stories within the garments and accessories it is such a treat each time to tease them out.
From Marfa Journal, Issue 6, November 2016 | Courtesy of Pascal Gambarte
Do you have a favourite forgotten gem that you’ve come across in your work?
I spent a lot of time throughout August at the Isabella Blow Collection reordering it and making sure everything was in the right place, after finishing archiving it nearly six years ago. When going through Isabella’s bags I found a nail polish that I had previously not noted down. There was something so evocative about this silver liquid, the brush once used to apply varnish to Isabella’s nails. I wondered if in the next exhibition, we are hoping to stage, if contextualised in the right way it might be able to conjure in the visitor the same reaction it had had in me.
You have worked on some very culturally important exhibits, such as Isabella Blow: Fashion Galore! How do you approach the legacy of documenting the life’s work of such significant figures?
Isabella Blow’s legacy through her clothing is a project I have worked on since 2011. Firstly by archiving the collection and then by co-curating the 2013 exhibition Isabella Blow: Fashion Galore! At Somerset House. I still work with the Isabella Blow foundation and have done a subsequent exhibition in Sydney and we hope to stage more to raise money for the charities we support and student bursaries the foundations runs.
Working with the clothing to tell Isabella’s story is really amazing, I always think that like other figures in history she was building her own myth through the objects she amassed. Every object in the collection has a story attached, through either her personal relationships or where she wore it. Daphne Guinness bought the collection so that she would be able to keep Isabella’s legacy alive through the garments and accessories so it is a real honour to be a part of that.
Do you think fashion is inherently fine art?
No I think art and fashion are two completely different things, which sometimes speak to one another but are incomparable.
What do you see as the difference of approach between choosing how to display a piece of clothing and a priceless painting?
I think that curating fashion and curating art are two different disciplines and the approach is so wildly different. The interventions used within an exhibition of dress are selected and considered to give further context to the story, however within a fine art exhibition the art is centre-front in laying the narrative.
It seems that everyone is a ‘curator’ today. Do you think the term has lost some meaning, and does its meaning matter?
A curator is a keeper of a collection and as I don’t actually manage a museum collection, and I never have, I think the meaning of the word has changed somewhat. The application of the word curator to define making lists, or selecting something, is another mutation of this. I don’t know for me it is great as I think so many doors have opened over the last ten years for curators in light of it.
You are also working on a new cultural programme for Chess Club London – would you say programming and curation are two sides of the same coin, or fundamentally different?
They are so different. I really love working with Holly Hay to programme the events at Chess Club, it is such a lovely project. We think there is something so brilliant about learning nuggets of information and Holly and I set out that everything we did at Chess Club would result in absorbing tidbits that you could then relay at dinner to your friends. We do such different things there and meet so many amazing people. Last month we had an expert tea taster who travels the world to find the best tealeaves, and this month we have Clym Evernden coming to talk about his inspirations amongst so many other things.
Isabella Blow: Fashion Galore! | Photos Chris Brooks/CLM
Exhibits are most often worlds built for the public – what do you think is valuable about working on an experience for a more private sphere?
It is to nice to build a rapport with people who come frequently to the events at Chess Club. Also we have figured out what people like coming to, and can incorporate their feedback. It is much more organic than mounting a temporary exhibition which is on and then dismantled with no opportunity to change anything. It would be really interesting to do an exhibition that morphed with the times and opinions, I wonder how you could make that work?
Can you tell us a little about your new project ‘Posturing’ – what made you decide to focus on the body?
I had been thinking about it for a while. About two years ago I proposed a promenade contemporary dance commission around the body in fashion when I worked as curator at Somerset House, which didn’t happen. However it got me thinking. I noticed a shift, away from the sexualized body within fashion photography and I thought a group of contemporary photographers were exploring a new approach to gesture and pose in their work. I wondered how we could present this within a group exhibition. This exhibition is now launching on the 1st November and is entitled Posturing: Photographing the Body in Fashion, the first of a three part project the second looks at filming the body in fashion and the third, a book, writing the body in fashion.
What do you think that the repeated distortion of the body in fashion imagery, the ‘new aesthetic’ the exhibit focuses on, tells us about fashion today?
It is less about fashion today and more about the presentation of fashion. Shifting trends each season is the very foundation the fashion system is built upon but with this project we evoke thinking (hopefully) around how this then impacts on the way in which it is captured across different mediums. The approach employed by all the photographers within the exhibition is one of wit and subversion could this be a reaction to the world we live in now? Should we take fashion very, very seriously? I don’t know – but these are the kind of questions we would absolutely love the work to inspire in the visitor.
Photos above Kristin Lee Moolman and Ibrahim Kamara. All other photos courtesy of the artist.
For Holly and I the whole project is about mediums and imprints. The body is the common thread but applying this theme to look at the way in which it, and in turn the clothing, can be captured in a photograph, a film or within the written word felt a really exciting way to capture different thoughts, insights and opinions. The Ground Floor Project, the company Holly Hay and I have founded, is all about creating conversations instead of offering conclusions and full stops. All the work is so contemporary that we wanted our exhibition, film and book to become part of the conversation as opposed to offering reflection and analysis to something that has already happened.
Do you have a favourite fashion image? A favourite collection?
I couldn’t possibly pick! I love researching imagery and slotting them together, I don’t think I could single one out.
And finally, apart from your own, can you recommend any new or upcoming fashion exhibits we should look out for?
I am really excited about Amy de la Haye’s next exhibition at Brighton Museum on the artist Gluck. It isn’t fashion but I can’t recommend Andy Holden and Peter Holden’s Artangel exhibition ‘Natural Selection’ enough, it is amazing. I also loved Rachel Whiteread at the Tate Britain is fantastic. I am super looking forward to going to see the Basquiat exhibition at the Barbican.
Photographer Sophie Davis talks to Twin about her series of work, ‘The Unresolved’.
I began this series nearly two years ago, having been constantly exposed to images of beauty ideals from a young age through media and popular culture. Starting this series felt like a necessary step for me to try and understand my fascination with beauty and the female form.
‘The Unresolved’ is a growing body of work and the girls I photograph start out as strangers to me. I ‘collect’ my subjects around London, they are just normal women who I feel instantly drawn to because of their physical appearance. I ask them to sit for me if they are interested. These sittings are mostly done nude.
Surprisingly, through the many girls I have photographed I have only ever had one no, which I think speaks volumes about how we as women are curious about seeing ourselves laid bare. It could be seen as searching for validation, wanting to feel beautiful in a world that makes us constantly insecure.
The images have become part of a growing archive, a collection of female flesh, both a celebration of the magnetising allure of the woman but also an exploration into the limits of objectification.
The method of my work has been described as predatory in nature, more ‘male gaze’ than ‘female’ (which I can’t help but see as reductive, as women have the ability to desire just as much as men). But alongside the seemingly callous ‘pick ups’ there is a tenderness to the photographs that remove them from an objectifying, colder viewpoint – it is down to the close ups. The details in the folds of skin and stray hairs, the remnants of another human being. There is the intimacy and closeness you would assume exist between lovers. I am always amazed at the level of trust each girl puts in me, and the friendships that come out of some encounters.
‘The Unresolved ‘is an exploration of the limits of the female gaze and the ‘trap of beauty’ and our constant hunt for it. In exploring with such issues with this body of work, it has given me further insight into our conditioning, and the confusion that surrounds the self in relation to images of the ‘ideal’. There is a hunger in the images, both from myself as photographer and from the subjects themselves, it’s a desire to be seen, to be looked at to be the one do the looking.
This weekend, Stour Space in Hackney Wick will be transformed into a free art exhibition, packed with talks, comedy shows, DJ sets and spoken word performances, as well as live music and workshops. Alongside these creative events, there will be artwork on sale, with all proceeds going towards End Violence Against Women
The event is being put on as part of the Nasty Women global art movement, which began in New York to increase awareness for women’s rights, using art to channel freedom of speech and self-expression. The organisation brings together people of all genders, races, faiths and LGBTQIA identities, and its name comes from a comment Donald Trump made about Hilary Clinton during a televised debate. It has since become a rallying call for women who are standing up against misogyny and gender inequality.
Eat Cake Like a Boss by Rachael Rebus_Image courtesy of the artist
Taking place across the weekend of the 23rd and 24th September, the multidisciplinary exhibition employs a variety of different art forms, including sculpture, street art, ceramics, and an immersive art installation in which visitors can create their own virtual artwork. Virtual Reality is a recurring theme throughout the exhibition, with other spaces recreating instances of street harassment and everyday sexism using VR, to give a visceral understanding of what those experiences are like.
Famed comedian Ava Vidal will be taking to the stage over the weekend, along with spoken word artists Salena Godden and Joelle Taylor. Included amongst those who have donated their work are experimental ceramicist Carrie Reichardt, and Louisa Johnson, the great granddaughter of Suffragette Emmeline Pankhurst. One of Johnson’s donated items is a handwritten letter by Pankhurst herself, written during her stay at Holloway Prison.
Fuck Washing Up_by Stacey Guthrie_Image courtesy of the artist
Nasty Women will be open on Saturday 23rd September and Sunday 24th September, from 9am until late, at Stour Space in Hackney Wick. http://www.nastywomenuk.com/
Something about this month’s launch of Rihanna’s new beauty line – Fenty Beauty – has touched a nerve with consumers and it’s not entirely owing to her A-list cred. In a sea of celebrity-endorsed fashion and beauty collections, Fenty stands out thanks to its notably diverse range of foundation shades (all 40 of them, near revolutionary in its inclusivity), from lightest of alabasters to the deepest of coffees, with a range of authentic skin-loving undertones as well. Word on the street is that customers are liking – and buying – what they see: there are reports of the darkest shades selling out instantly, which flies in the face of the argument of bigger brands that producing darker shades is a risk for their profit margin. But it’s not only dark-skinned girls loving the range, a number of people with albinism have sung the praises of Fenty for making shades light enough for pigment-free skin, using the hashtag #AlbinoMatch to broadcast the discovery on various social platforms.
Of course this isn’t Rihanna’s first foray into the world of beauty, with products from her RiRi for MAC collection reportedly selling out in hours. However, with a whole makeup line created by the original bad girl herself – and with names like Trophy Wife, Moscow Mule, Sinnamon, Killawatt and Pro Filt’R – this one’s got RiRi written all over it, in a very good way.
Whether it’s phone cases, patches, berets or bags, customisation is the trans-seasonal trend that we can’t get enough off. Hot off the Topshop SS18 catwalk, customised tees from the runway show are available to make your own at Topshop’s customisation pop-up in their Oxford Street store.
Head over over any time this week to tap into that fierce, independent attitude: because while wearing your heart on your sleeve is good, your name on your chest is better.
Beds have always offered a world within a world, a place where sex, loss, pensiveness and commonality can all exist in the same place, and sometimes all at once. It is these dichotomies and juxtapositions that photographer Cass Bird plays with in a new exhibition at Red Hook Labs in New York.
This new series of portraits tells the story of her family, with pictures of wife Ali, and their two children weaving a story of laughter, intimacy and feeling connected.
Alongside familial images are examples of Bird’s fashion photography, which has featured in publications such as French Vogue and Wall Street Journal, as well as Twin magazine.
‘Self Portrait with Mae’ (2014), Photography Cass Bird
Here the same off-kilter, fluid and sensitive compositions relay an eye that is totally attuned to its subjects; whether it’s professional or personal, Cass Bird communes with these moments rather than directs them.
‘In Bed’ is on at Red Hook Labs, Brooklyn until September 24th.
Francesca Gavin (Twin, Art Editor) curates a new exhibition in Paris, inspired by the cultural power of the humble champignon.
The exhibition explores the mushroom through cultural and historical narratives, focussing on how this simple fungi has operated at the heart of ritual for thousands of years.
Hannah Collins, ‘The fragile feast, madonna and ceps.’ 2012 – 2017. | image courtesy of galeriepcp
“They were an early form of female empowerment” Peter Cybulski, of galeriepcp tells me, adding that women used mushrooms for a source of income throughout the 19th century.
Throughout contemporary art, the mushroom can also be seen as a source of inspiration, with creatives looking towards it for its ability to signify nature, as well as more abstract, and psychedelic references.
Seana Gavin, ‘mushroomscape’, 2017 | image courtesy of galeriepcp
Bringing together a diverse and exciting range of international artists which includes Hannah Collins, Sylvie Fleury, Seana Gavin, Carsten Holler and more. This new exhibition covers painting, collage, film and photography to offer an exciting and surprising survey of the mushroom, and the strangeness it embodies.
John Millei ‘maria sabina #1’, 2016 | image courtesy of galeriepcp
Champignons! curated by Francesca Gavin is at galeriepcp in Paris until 10th November 2017.
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