Open Borders, Broken Walls

October 11, 2018

In this particularly subversive moment in history, where cultural and political differences have been an impetus for division amongst human beings, Amaze has graced us with BORDERS. Combining art and fashion, with a dash of science, this book visually explores the themes of separation, power and Otherness over the course of four chapters.

Launched during Paris Fashion Week, the theme of the first chapter centered on an idea proposed by the late Stephen Hawking that the human habitation of earth has an expiration date. Art directors (and BORDERS publishers) Nicole Walker and Anders Haal tapped photographer Alex de Brabant, who used profoundly symbolic imagery to capture life after humanity has relocated to what Hawking termed Proxima B, a theoretically-habitable region 25 million miles from Earth. Picturing human beings with animal family members, de Brabant offered a more inclusive reimagination of the conventional ‘nuclear family.’

Text by Kennedy Fairfax
Photos by J Ari King & Henrik Alm
Art Direction by Nicole Walker & HAAL

The second chapter, ‘Walls,’ which we’re dropping exclusively below, grapples with the theme of borders in an entirely different way. Comprised of two parts, the first shot by photographer J Ari King, and the second by Henrik Alm, this section explores variations of borders that occur both naturally and artificially within a given landscape. Inserting 3D sketches of the historical Greek columns, icebergs, plots of land, and concrete walls, as well as images of model Josh Johnson in front of German landmarks like the Berlin Wall, the photographers demonstrate that though we are surrounded by examples of division and separation, these examples should not inform how we regard one another.

"With the book, we want to propose, instead of otherness, we want togetherness, coming a bit closer to one another and just seeing things in a different way," the publishers explained.

BORDERS serves as a beautiful reminder that there should be none. We should all take a page from this book.

office caught up with Walker and Haal to discuss BORDERS. Read our interview, and view images from ‘Walls,’ below.

Tell me about Borders.

Nicole & Anders: The book itself consist of 4 chapters: ‘Proxima B / Temporary Planets,’ ‘Walls,’ ‘Post a story of the protest, later delete it,’ and ‘What We All Do.’

In ‘Proxima B / Temporary Planets,’ Alex de Brabant presents parts of HAAL S/S ‘19, as well as the HAAL Duplex Lens depicting Earth versus Proxima B, the planet predicted by Stephen Hawking as our second home to be—our second chance after the ultimate fuck up. With ‘Walls’—borders are carved into the idea of the landscape of our planet. In this chapter, we have images by photographer J Ari King from different places around the globe, along with inserted 3-D sketches of the domesticated fence, the historical greek columns, the concrete wall, the ever sinking iceberg; photographer Henrik Alm also shot performer Josh Johnson by the remains of the Berlin Wall, as a good reminder that we don’t want history to repeat itself. In Chapter 3, photographer Chris Maggio’s photos portray the reality of everyday human life in America, and in “What We All Do,” Valter T örsleff documents his close friend Sasha Melnychuk and their trip on the French Riviera. We all sleep, fuck, eat, drink water, cry, smell, and take a shit.

What was the impetus for curating the book?

Nicole: I have been upset for years—upset about Trump becoming president, about right wing and Nazi parties growing bigger all over Europe. So, I felt that I had to do something that speaks for the opposite of all that, opening minds and eyes for peace—a book that questions the ideas of borders, which also define today’s media landscape, but to do it in a rather poetic way. I approached my friend Anders Haal, and we decided to make it happen together. The goal: making a book that questioned the separations between humans, the idea of we versus them, and showing absolutely zero tolerance for racism.

What do you hope to achieve with it?

Anders: With the book, we want to propose, instead of otherness, we want togetherness, coming a bit closer to one another and just seeing things in a different way. Also, seeing that we, as creators within the fashion and art community, have the power to raise our voices louder, to fight hate and racism in every possible way.

Why do you think now is such an important time for a project like this?

Nicole: There is a lack of belonging in today’s society—the world and the universe feel bigger than ever with all the information we’re constantly being fed, and scientists finding new planets in the galaxy every day. Now is the time to be closer and to break down our own personal borders. There is no them—only us.

Chapter 2.1 'Walls:' Photos by J Ari King, 3-D Modeling by Malcolm Carter, Art Direction by Nicole Walker & HAAL.

Chapter 2.2. 'Walls: Power Dressing:' Photos by Henrik Alm, Casting & Styling by Nicole Walker, Art Direction by Nicole Walker & HAAL, Styling Assistant: Freia Fee Wolter, Model: Josh Johnson wearing Balenciaga, Burberry, Calvin Klein, Dick International, Dressman XL, Martine Rose, Starbucks & XXL. Shot on location in Berlin.

All photos courtesy of Nicole Walker & Anders Haal; book supported by Swedish Fashion Council.

'Borders' is out now.

Art

LIA LIA by Iga Drobisz

Your work often explores intimacy and vulnerability. How do you create a safe and authentic environment for your subjects during a shoot?

The past few months, I’ve been working on two series of photographs: nudes of women in their own apartments and portraits of women before and after giving birth. Both series involve capturing them in deeply personal spaces—bedrooms or nurseries—where they feel at ease.

Shooting in their spaces, in their own beds, plays a crucial role in creating comfort. I choose film and cameras that show them in a way they find beautiful and empowering, emphasizing softness and warmth. It's a stark contrast to modern, hyper-detailed phone cameras that sometimes reveal more than one wants to see.

Your photography has a distinct emotional depth and texture. How do you approach the interplay of light, color, and composition to achieve this?

My process is highly intuitive. I’ve never formally studied photography or apprenticed under anyone—I learned by experimenting and seeing what felt right. It’s about trusting my instincts rather than adhering to rigid rules.

What role do personal experiences or cultural influences play in shaping the stories you tell through your images? Many of your photographs feel deeply narrative.

Growing up, I was surrounded by great cinematography. My grandmother had a TV, but my mom only brought home VHS tapes—films with substance. I think that exposure shaped how I see the world, how I approach subjects, and the narrative depth in my work.

What role does spontaneity play in your shoots? Do you leave room for improvisation, or is everything carefully planned?

To balance spontaneity and structure, I go in with a clear plan and strong direction, but I remain open to surprises. It’s about letting the subject feel like the shoot is about them, not me. That openness often leads to the most unexpected, meaningful moments.

What inspired the shoot with singer LIA LIA? How did it come together?

Collaborating with Ruby and Naomi always takes me out of my comfort zone in the best way. For this shoot, we wanted to transform someone with an iconic face but also someone like Lia—someone with a clear sense of self.

Giving her a completely new look was exciting; it brought an unexpected energy to the set. The approach was playful and experimental. The night before, I had no idea what wigs Ruby would bring or what colors Naomi might choose. It was a beautiful mix of spontaneity and collaboration.

What inspires you the most?

Movies and music are big inspirations for me, as well as the work of other photographers like Carlijn Jacobs, Harley Weir, Rineke Dijkstra, Charlotte Wales, and Nan Goldin.

What emotions or truths are the hardest for you to express through your art, and why?

I don’t think I consciously try to express specific emotions when I work. Instead, I follow what feels right in the moment—what draws me in or excites me that day. It’s less about a deliberate expression and more about letting intuition guide the way.

Art

Luna Luna: Surrealist Spectacle Lands in New York

November 21, 2024

In the 1980s, André Heller, an Austrian artist, singer-songwriter, and former actor, was looking for a new place to showcase his art. He had already taken to gardens, creating a colorful, surrealistic character using 40,000 flowers, and to the skies, organizing a 'fire theatre,' which involved an over-the-top fireworks show complete with steel-frame sculptures set on fire. But he had never tried out a fair.

So began "Luna Luna." Created as the world's first art carnival, "Luna Luna" combined the spectacular with the absurd, showcasing original rides and attractions from rising and already-at-the-top artists in Hamburg. Nearly forty years since its debut, followed by foiled plans for a worldwide tour, breached contracts, and 44 storage containers, the art fair has finally returned, calling New York home after re-debuting last year in Los Angeles.

By Hailey Johnson
Photography by Delvin Claro and Sabrina Sarnitz, courtesy of Luna Luna LLC

On a recent evening in Hudson Yards, a small carousel featured characters in quirky, Twister-like poses and an outstretched dog with seven legs. (Almost a century old, the rides are no longer rideable.) Goofy wooden sculptures were elevated in another corner, some of them cross-eyed or with a horn for a nose. A geodesic dome glowed, with Gregorian chants hovering somewhere above it.

"It's an art experience like no other," Michael Goldberg, Chief Experience Officer of Luna Luna, said recently. "People get to see artists do things they've never done before," he added.

Goldberg, founder of Something Special Studios, a creative agency behind many Nike campaigns, was determined to resurrect “Luna Luna” after reading about it online in 2019. Goldberg shopped for investors, eventually teaming up with DreamCrew, a media company co-owned by the rapper Drake. (Details on the company's investment remain vague; sources have reported that DreamCrew spent over "100 million dollars.") In 2022, an intensive restoration process began, with a team of artists reviving many of the original works, which had remained in boxes in a Texas warehouse for over thirty years. Several had been in pieces. (The team reportedly had to rebuild each work "bolt by bolt.")

That night, at the Shed, fourteen out of the original thirty-five works were on display, including the small carousel (Keith Haring), the goofy sculptures (Kenny Scharf), the neon dome (Salvador Dali), and a towering Ferris wheel decorated in drawings of stick figures, upside crowns, and references to Jim Crow (Basquiat). Missing works are in a "constant state of restoration," Goldberg said. Meanwhile, new attractions are joining the line-up. For the New York show, the Puerto Rican duo Poncilí Creación was commissioned to create "PonciliLand," a blink-and-you-miss-it section where guests "can create fantastical characters out of custom building blocks." Poncili also developed floating characters, inspired by performers who circulated the original “Luna Luna” fairgrounds in 1987. Known as "Lovers," the two characters, large and dreamlike, teetered to one side, mumbling the kind of nervous groans one does before a fall. (They never ended up falling.)

I asked Goldberg if, given that today's culture doesn't quite look or feel the same way as it did in 1987, there was any hesitation in showing some of the original works. On a back wall, a tribute featured Manfred Diex's "Palace of the Wind," a show featuring performers who fart into a microphone; on another, two ornate pedestals held sculptures of spiral poop.

"I don't see any reason why we wouldn't show any of these works," he said. "A lot of the time, art is exclusive and uninviting. The big difference between “Luna Luna” and other art experiences is that it has many sides to it, and things that have a bit of humor and playful energy. "As for "Palace of the Winds,” the decision to keep it was simple: farting is universal. He went on: "The “Crap Chancellery" is, conceptually, one of the most important works in “Luna Luna.” Daniel Spoerri's dad was killed in the Holocaust, and the work was inspired by Albert Speer, who was Hitler's architect. He took the facade of what was meant to be a Nazi shrine and turned it into the facade of a bathroom with two steaming statues of shit standing on the outside. These works are extremely important and are things that we would definitely want to honor and draw attention to."

As “Luna Luna” further develops, the show will likely change. "It will continue to evolve as we go to different cities in response to the spaces that we pop up into and in collaboration with the local city," Goldberg said." With it, there will be new characters and new stories to tell. One aspect that won't change, though, as Goldberg assured, is a long-held sentiment about a potential partnership. At one point, early on during the original “Luna Luna” era, McDonald's wanted to buy into it. Heller said no, adding that he "didn't want it to feel like Disneyland." Goldberg agreed. Nonetheless, as I watched Kenny Scharf's dizzying swing ride go around for what felt like the hundredth time, with the cartoon characters decorated on it blurring together (one with a villain's grin, another morphed into a martini glass), I couldn't help but feel like maybe I was at Disneyland, only not as robbed, but just as entertained and exhausted by its rides and fantastical characters, and wanting to go again.

Luna Luna, Hamburg, Germany, 1987.

Art

Pamela Sneed’s Speaking Tongue opens at Dashwood Projects

November 15, 2024

Pamela Sneed’s latest exhibition, Speaking Tongue, will be on view at Dashwood Projects from November 20 to December 21. The show features twenty watercolor and ink paintings inspired by her recent trip to Kenya, where she was deeply moved by the elegance of giraffes, the landscapes, and the energy of Nairobi.

Blending her background as a poet and visual artist, Sneed’s work reflects on themes of identity, nature, and connection. Her paintings capture the beauty and spirit of the animals she encountered, alongside reflections on her own experiences as part of the African diaspora.

This exhibition marks Sneed’s first solo show with Dashwood Projects and will be accompanied by a new book, also titled Speaking Tongue, to be released in December.