parallel DIARY

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AWESOME SUPERMODEL, 

JUST FOR THE EYES.

ENCOUNTER WITH GIZA LAGARCE

 

Tell us a bit of you Giza, who are you? I'm a 22 year old full time model from Los Angeles. Cat obsessor and jack of all trades but master of none...

When did you first start working as a professional model? I went full time when I graduated from high school.

Do you remember your first shooting? I don't remember how old I was but I was pretty young. Didn't take it too seriously back then...

Wich brands you worked for? I've worked for many, lots of different clothing lines. The most recent that come to mind would be Adidas, W.W.D. , Drop Dead Clothing, 10th Tribe, Forever 21, Coca-Cola, Nike, and then some... Do you know France? France? As in the country? (laughing) Yes, my father is from Paris and I have a bit of family out there. Haven't visited in a while but planning to soon!

In two words, what inspires you? Bettering myself.

Tell us a bit of your career, what's the favorite project you worked on? I worked on a Black Eyed Peas music video once, that was really lots of fun, then I shot in a McDonald's commercial which was pretty cool.

 

Extract from the Parallel Volume II, 

Courtesy of Giza Lagarce - www.tumblr.com/tagged/giza-lagarce

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PARALLEL MAGAZINE JUST MEET 

VINTAGE STYLE & FAMOUS PHOTOGRAPHER,

NEIL KRUG.

 

Tell us a bit of you Neil, who are you? I am a 29 year old artist based in Los Angeles...

When did you first start working as a professional photographer? 2008 was the year I became professional meaning I was taking on assignments for the first time. I think I was 24 years old or something like that. That was an exciting time for me!

Your work seems inspired by the seventies, where did you get the inspiration? I get inspired from random things I suppose like anyone does really. In my downtime I enjoy looking at old pulp iconography, classical paintings and other boring things. Lately I've been heavily into a book I picked up titled "Japanische Plakate" which is a collection of work from various Japanese designers over the last century. It's pretty incredible.

 

Extract from the Parallel Volume III, 

Courtesy of Neil Krug - www.neilkrug.com

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LET'S MEET ABDUL KIRCHER,

A YOUNG BUT TALENTED PHOTOGRAPHER.

"SAY HELLO TO MY LITTLE FRIEND"

 

He's German and Turkish photographer, born and raised in Berlin, Germany. Acording to him, Manhattan (New-York City) is so full of amazing people and awesome opportunities:

For him, it’s perfect for any young artist.

Your work seems inspired by the eighties, where did you get the inspiration? Most of my inspiration comes from music. Shlohmo is my main influence right now. The only thing I play when photographing someone is Shlohmo. His music puts me in this odd, but good, mood that helps me create stronger images. It’s hard to explain but music is a big key to a successful shoot. It makes the photographer and subject more comfortable. But other than that I don’t have any other influences. I don’t really like looking at other photographer’s work; only leads to unconscious plagiarism.

 

Extract from the Parallel Volume III, 

Courtesy of Abdul Kircher - www.abdulkircher.com

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ANNE-SOPHIE BERGER ; "My work is more a destillation process, a making order in the mess that is my creativity, selecting one thing over the other.""

 

Tell us a bit of you Anna-Sophie, who are you?

I am an artist based in Vienna. I have been travelling a lot the last year after having finished my Master of the Arts in Vienna. Most recently to New-York city where my first solo show opened at JTT Gallery. My work is not limited to a specific media, I am a trained fashion designer and include the creation of garments in my practice. They therefore divergate between objects, clothes and sculptures. My work also includes performance and photography, combining all medias freely.

 

Why clothings in Art setting?

The question to me is only relevant in one sense: Why display an object that belongs to a moving body in a still setting : The answer would be that a change of context, say from body to wall/gallerie floor enables my objects to communicate different aspects. To undergo a change of context serves a thought process, it isolates things while it excludes others. This is what all fine art is busy with. The reason why I prefer the "Art Setting" to any other setting is the importance of authorship this market allows for. Both systems are ultimately driven by commercial interests, but different from a design process, as an artist I get to define my own pace and can ultimately put my ideas before practical use.

 

What's the favorite project you worked on?

That is normally the most recent one, so I would say the work I created for JTT in New-York.

 

Extract from the Parallel Volume III,

Courtesy of the ITT Gallery 170a SUFFOLK STREET NEW YORK NY 10002 212-574-8152

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MILLE NEUF CENT QUATRE VINGT QUATRE

a.k.a 1984

 

Toucher soyeux du regard, les œuvres textiles de Amélie Charroin et Marie Colin-Madan, le binôme français de haute volée, incarnent la figure de proue émergente de cette nouvelle caste artistique, racée et subtile qui porte en bandana et monte en amazone. Fer de lance pictural avec leurs imprimés naïfs, géométriques et décentrés, sublimant aussi bien le dessus-de-lit que la peau frissonnante, les carrés de soie brouillent les pistes avec maestria. Foulard au vent, reflet d’élégance raffiné, les motifs 1984 s’étendent de la chemise Hawaïenne aux vues Google Earth.

 

Extracted from the Parallel Magazine Volume III

PHOTOGRAPHE Coco Capitán www.cococapitan.com STYLE Coco Capitán www.cococapitan.com MODEL Liliya www.imgmodels.com SCARF MNCQVQ x Reality studio www.realitystudio.de

MUNK (GOMMA REC) W/ PARALLEL MAGAZINE

 

Manuel (MANUEL KIM) told me you lived in France? Yes. Since 3 Years I live between Marseille and Berlin. I discovered Marseille a few years ago and was fascinated by this very special city. It’s more like a noth african city than central Europe. 50% African immigrants create a very non european atmosphere. And at the moment there are many international artists starting to live there. It’s also a very intersting music scene. Not only arabic but also for the New House scene. They have a very own way to produce Funky House music there. Full of Funk. The parties and clubs are very cool too. So it’s great to hang out there. Like Barcelona before the big hype in the 90’s...

When did you first start working as a professional DJ? Around when I was fifteen. But my first money with Djing at twenty two years old...

Do you remember the first song you listened and really loved as a DJ? My first love was Funk and Hip-Hop... Hum, I guess it was something like «A Tribe Called Quest» or James Brown maybe...

How do you choose GOMMA artists? They have to be people with a strong personal vision of how they can add somthing to today’s music universe. We dont want people that make obvious sound. It has to be somehow different, strange or also futuristic... A mix of unexpected stlyes. The guy needs to be interesting; with concrete ideas about music, art, all that stuff...

 

Extracted from the Parallel Magazine Volume II

Photographer : Laurent Grino

www.gomma.de/munk 

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WALLO VILLACORTA & CYRIL MARSOLLIER

 

After receiving his BS Arch from the University of Illinois, Wallo worked in Zurich, Switzerland, at architectural firm E2A (Eckert Eckert Architekten). Currently Wallo works at the branding and design studio Someoddpilot and is the director and curator of Public Works Gallery. Prior to arriving in Chicago, Cyril worked at Work Architec¬ture Company in New York City and at L’AUC in Paris. He holds a Masters of Architecture with distinction from the Na- tional Superior School of Architecture in Versailles.

 

Cyril Marsollier & Wallo Villacorta were awarded first prize for their Prentice reuse design for “Future Prentice,” the 2012 Chicago Prize Competition sponsored by the Chicago Architectural Club. Originally from Paris, France, and Lima, Peru, respectively, Cyril & Wallo are currently based in Chicago. Their architectural practice seeks to attain an understanding of the city through its by-products and artifacts.

 

Extracted from the Parallel Magazine Volume III, courtesy of Public Gallery (Chicago, Ill)