Category Archives: ISSUE Ø8 – INTERVIEW

tes one.

credits: Tes One, left: Primary Flight, Poster  / right: Make Way, 36×48, acrylic on wood

Interested in street art?  This could be something for you: From painting murals and graffiti art to compelling graphic design –  US-based artist Leon Bedore aka Tes One took some time to answer my questions.

As you career started with graffiti, that obviously still has a strong impact on your work, I’d like to know, what got you into graffiti in your early days? What’s your definition of ‘graffiti’?

I discovered graffiti art when I was about 15 years old. I just remember being so inspired and amazed that artists were creating work in the streets, and at the time it seemed to be everything I was looking for. My view of graffiti art then was this unrestricted outlet for expression. However as I got more involved in the culture surrounding it, I realized that “graffiti” did have it’s own restrictions and it did not summarize all that I was as an artist.
I still love graffiti art and it will always be a part of me – just not all of me.

What was the reason to concentrate more on graphic based art?

I wouldn’t necessarily say that I concentrate “more” on graphic based art, it just also happens to be another passion of mine. I enjoy merging my design and art abilities into my own style of work. When I first started out, I had not seen anything like what I was producing (which inspired me to pursue my art career even further). I enjoy the challenge of representing art and design in my work simultaneously, and I’m always looking for better ways to achieve it.

Your web-site`s titled “Ill Communication”. I guess the name is a play of the so called Beastie Boys Album..What does music mean to your work?

Yes, the Beastie Boys were practically the soundtrack to my life during my high school years, and “Ill Communication” is somewhat of homage to them and the influence their music has had on me.
I’ve always envied the power of music and it’s ability to touch so many people, so deeply and instantly. It’s something I strive for in my chosen medium, with each piece that I create. [FIND MORE ON THE POP]


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8th March – a feminist newspaper.

photo: 8th March, cover, b&w: “Finally! Women make 30% more than men!”

I love the printed word and even more I like the 8th March project, a magazine by Stefanie Seibold, which does not only bring together a print medium with feminist topics but at the same time shows the strong points of print media in digital times: professionall pre-selected, focused and edited content with quality requirement. Read more about the decision to edit a printed magazine, the importance of distribution ways and Stefanie`s wishes for the future of women.

How did the idea for your the magazine 8th March arise? And when did you finally start to put it into action?

I was invited to a competition which asked for an art-project in public space relating to the topic 100 years of the International Women`s Day in march 2010 and was one of four artists to win it. My project was then halted for more than half a year due to funding difficulties, so I could only start in January 2011 which was very little time for such a complex work.

Why did you decide for a printed magazine? It could have been online, too…

There is the history of a building involved in that idea: the Kreisky Archive resides in the historic seat of the old SPOE from the 1910s which from the beginning had a large print-shop included as part of its (communication) logic. I got interested in the tradition of printed matter as a means to  pass on information, as an important “propaganda”-medium and also a means to publish “counter-information” to the conservative and yellow-press and to employ or even hijack a popular newspaper format, all that interested me about the print-format. A newspaper is a medium that claims to tell a truth, “real” neutral news as opposed to fabricated ones. And of course newspapers do not do that, there is no neutrality in what is published its always already a choice and edited and therefore an interpretation of our world in that sense. 

I was lucky to get an issue at Westbahnhof, Vienna on the International Women`s Day. Which meaning do the ways of distribution have for the project?

Distribution was a key factor for this project since it was meant to reach an audience outside of the the art context, which is the usual context of my works. I was playing- as mentioned above -with a popular format, so the question of how to distribute a large number of the paper (50.000 copies !) to a as many people as possible was central. We mainly worked with a professional distributor and his team and also managed to include it as the art-supplement in MALMOE, another publication which is distributed all over the city and the rest of Austria as well. It now also gets distributed more as an artistic-publication in places like the Salzburger Kunstverein, and some bookstores in Berlin like ProQm, b_books and MOTTO.

Your artistic work is often concerned with issues of feminism. Why and when did the topic become that important for your work? What`s your personal approach to the discussion of gender?
It began to really interest me when i started to work in theatre as a scenic designer. Theatre in my experience is, or was then still a very patri-hierarchichal and rather uncritical environment regarding gender and queer issues, mainly re-producing boring gender stereotypes and and I did not like that.

You`re teaching Performance and Gender at the Art University in Linz. From your perspective in terms of a critical cultural examination: How do you perceive students` coping with the issue of gender mainstreaming?

Today´s students are much more aware of gender issues, and deal with it in most interesting ways, but prejudices and stereotypes connected to gender and sexuality are rooted very deeply in our society and in each and every one in us, so there is still much to be done to change or at least challenge these perceptions, I think.

What`s your aim in teaching gender and what are you wishes for the future of women?
Bringing awareness through joint analysis and teaching and inventing together tools to identify, criticize and change gender inequalities and discrimination.

Is there any contemporary female feminist whose work you adore? Why?

I am not so interested in labeling artists, I believe there are certain artworks, which might be understood as feminist – or not, but that is not at the center of my interest in art. And there are many very good women artists out there, past and present. Elaine Sturtevant for example is great, she is now in her eighties, I think.

inside 8th March, p.04/05 & p.12/13

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the utope project.

Austrian designer Wolfgang Langeder tells me about his vision of high-tech fabrics in everyday life.

CR: What is the utope project?

WL: the utope project is a cooperation between me, Wolfgang Langeder, and Fraunhofer IZM / Stretchable Circuits. Our main focus is to develop a display on clothing, which enables colors, moving images, symbols or stored data from a smart phone which appears on the exterior of clothes.
In general we are interested in creating a fusion of design and technology which is unprecedented and will bring new horizons into fashion design.

CR: How has the collaboration between you and the Fraunhofer IZM / Stretchable Circuits come into being? [read on]

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Filed under ISSUE Ø8 - INTERVIEW

buongiorno, signore branzi.

credits: Clemens Fabry, Die Presse

In the context of his show The Weak Metropolis: for a “New Charter of Athens” at MAK Design Space, Vienna I met Andrea Branzi, Milan-based urbanist, architect and designer. For all my (German-speaking) readers interested in the development of urban space I recommend the interview I conducted on behalf of the Austrian newspaper Die Presse am Sonntag and which is now online here.



fashion and virtual space.

I visited a session about fashion at the barcamp Vienna in June (read my report here), which rose my further interest in the relation between fashion and web 2.0. So I asked Vienna-based marketing expert and well-known fashion blogger Michaela Amort (Tschilp) to bring some light into the darkness. (Read English version here!)

CR: Welchen persönlichen Zugang hast Du zur Mode? Warum schreibst Du “Tschilp“?

MA: Ich bin praktisch mit der Nähmaschine aufgewachsen, meine Mutter hat sehr viele schöne Sachen genäht, und für mich war es ganz selbstverständlich Kleidung abzuändern oder nach eigener Vorstellung herzustellen. Ein bisschen vorbelastet bin ich auch durch ein Jahr Modeklasse bei Karl Lagerfeld an der Angewandten.

Seit etlichen Jahren bin ich in den Bereichen Werbung und Marketing mit Schwerpunkt New Media tätig, mein Interesse für Mode ist aber auch geblieben. Gerade im Zusammenhang mit Onlinemedien gibt es noch viel zu tun in dem Bereich. Während meiner Studienzeit habe ich als Journalistin gearbeitet, und das Schreiben hat mir ganz einfach gefehlt.

CR: Wie hat Dir das BarCamp gefallen?

MA: Sehr gut. Es war das bislang bestbesuchte in Wien, dadurch auch vom Publikum her wesentlich durchmischter und weniger IT-lastig als die BarCamps, bei denen ich davor teilgenommen habe. Eine Session zum Thema Mode zu machen, bei der der Raum auch noch am Schluss voll ist, wäre davor nicht wirklich denkbar gewesen.

CR:Welche Relevanz hat Deiner Meinung nach das Format BarCamp für die Modeindustrie? Welche Entwicklung hältst Du für wünschenswert?

MA: Im Moment noch keine, da das Format sehr stark aus der Internet-Startup-Szene kommt und von da geprägt ist. Die Modeindustrie, die man ja als klassisches Brick and mortar business betrachten kann, beginnt erst gerade zu verstehen, welche Umwälzungen – jetzt mal abgesehen von Ecommerce – durch die neue Onlinemedien-Kultur passieren. Wissen zu teilen ist in der Mode bis heute nicht gerade als Tugend gesehen worden. Das System Mode ist ein zutiefst konservatives, auch wenn das paradox klingen mag.

Trotzdem beginnen, vor allem die großen, global agierenden Konzerne langsam auf die vielen Dialoge einzugehen, die ihre Images prägen, und die ja auch ohne ihr zutun auf den verschiedenen Onlineplattformen stattfinden. Das wird natürlich immer noch mehr als neuer Kanal für’s Zielgruppenmarketing oder die PR gesehen.

Genau da sehe ich eine Chance für kleine Modeunternehmen. Ohne den ganzen Marketing/PR Apparat mit all den vordefinierten Regeln und Styleguides am Hals zu haben, müssten sich Mode-Start-Ups eigentlich viel leichter tun, einen flexiblen und offenen Umgang mit ihren Friends, Fans, Followers zu führen. Dafür könnte das Format BarCamp absolut fruchtbringend sein und eine spannende Vernetzungs- und Austauscharena, aus der sich vielleicht auch die eine oder andere innovative Partnerschaft entwickelt.

Übrigens diskutieren wir (eine kleine Gruppe aus der Wiener Blog- und Fashionstartup-Szene) gerade, wie wir das im Herbst konkret angehen könnten.

CR: Wie beurteilst Du die Relevanz des virtuellen Raums für die Mode? Welche Entwicklungen findest Du positiv? Gibt es “Negativ-Beispiele?

MA: Der virtuelle Raum ist – als Kommunikationsnmedium betrachtet – tatsächlich das neue Leitmedium (messbar z.B. an Reichweiten). Von daher liegt die Relevanz ja auf der Hand. Für die Mode ergibt sich aber noch eine andere Qualität, denn die Echtzeitkommunikation führt etwa zu einer Veränderung der Rolle der EndkonsumentInnen, die nun ohne Zeitverzögerung die Kollektionen von “morgen” sehen und aktiv beurteilen, aber schon heute haben wollen. Was lange Zeit reine B2B und Presse-Modewochen waren, wird heute ohne Zeitverzögerung von allen Interessierten kritisiert und kommentiert. Da geht es eigentlich nicht darum, ob das positiv oder negativ ist, es findet statt und niemand kann sich letztendlich ausschließen.

CR: Thema Live-Streaming von Fashion-Shows…sinnvoll oder nicht?

MA: Im Hinblick auf eine Multiplikation der Botschaft – alle Fashionshows transportieren ja Botschaften – sind Live Streams sogar sehr sinnvoll. Es geht dabei ja nicht darum, das Vor-Ort-Sein zu ersetzen, sondern um die massive Verbreitung von Brand und Image und letztendlich die Generierung von Nachfrage. Leider fehlt hier noch häufig die Einbindung in Social Media, so wird z.B. derzeit noch oft auf die technisch sehr einfache Twitter-Integration einfach lieber “vergessen” anstatt das Feedback gleich für den Dialog zu nutzen.

CR: Würdest Du eine Prognose für die Zukunft der Mode im Web wagen?
MA: Der E-Commerce im Modebereich wird noch ordentlich wachsen, was keinesfalls bedeutet, dass reale Shops verschwinden werden.
Wir werden mehr hochprofessionelle Modevideos sehen, die speziell für’s Web konzipiert sind.
Live Streams mit sozialer Einbettung – sowohl virtuell als auch in real life – werden ein ganz normaler Teil im Kommunikationsmix werden. Das hat Burberry Prorsum heuer im Februar mit dem 3D Stream wunderbar vorgemacht.