Toiletpaper Magazine

Toilet Paper is an artists' magazine created and "manufactured" by Maurizio Cattelan and Pierpaolo Ferrari. 

Brazil's Q chocolate launches at Fortnum and Mason

Q chocolate, is a new amazing Brazilian chocolate brand which is quickly expanding and taking chocolate making to a new level. With collaborations including the legendary Oscar Niemeyer, Samantha Aquim, chef and "chocolatier" came up with an exclusive recipe and process to "reveal many different, intense aromas".

Curvy chocolate - collaboration with Oscar Niemeyer

“Once you try a bar of Q you will be reminded that chocolate is made from a tropical fruit and its subtle notes of dried banana, mango and passion fruit will bring you even closer to the Brazilian rainforest.”  Samantha Aquim - July 2013.

The images used for the packaging are elegant, colourful and truly Brazilian. I love it!

Discover Q chocolate here: http://www.chocolateq.com/

Lyric V.I. Seungri - What Can I Do? (Japanese Version)

[Kanji]

VI VI VI like this

Come step to this

I’ m breaking down

down...down...down...down

Breaking down now

breaking breaking down down

I’ m breaking down

down..down...down...down

Breaking down now

breaking breaking down down

信じてたのに Why?

俺だけ You said

俺のためってもう 言わないで

Don’ t say

So tell me

どうしてこんな事に

Baby 納得できないよ

こんな馬鹿みたいに

俺を置き去りにしないで

So please don’ t let go

何もかも嫌がる君が

そんなに俺を責めても

どうすれば良いんだよ

So please don’ t let go

君に全てを捧げてたよ

愛を失いたくないから

これ以上俺をさけないで

I’ m breaking down

down...down...down...down

Breaking down now

breaking breaking down down

I’ m breaking down

down..down...down...down

Breaking down now

breaking breaking down down

再び逢うはずは もう無いって

No way

毎晩夢の中

I see your smile your smile

So tell me

どうしてこんな事に

Baby 納得できないよ

こんな馬鹿みたいに

俺を置き去りにしないで

So please don’ t let go

君に全てを捧げてたよ

愛を失いたくないから

これ以上俺をさけないで

Let’s breaking down

So please don’ t let go

Hey! I’ m slowly breakin down

I’ m slowly breakin down

So please don’ t let go

君を行かせたくない

So please don’ t let go

So please don’ t let go

君に全てを捧げてたよ

愛を失いたくないから

これ以上俺をさけないで

I’ m breakin down

down...down...down...down

Breaking down now

breaking breakin down down

I’ m breakin down

down..down...down...down

Breaking down now

breaking breakin down down

[Romanization]
VI VI VI like this
Come step to this
I’ m breakin down
down...down...down...down
Breaking down now
breaking breakin down down
I’ m breakin down
down..down...down...down
Breaking down now
breaking breakin down down

Shinji teta no ni Why?
Ore dake You said
Ore no tame tte mō Iwanaide
Don’ t say

So tell me
Dōshite konna koto ni
Baby nattoku dekinai yo
Konna baka mitai ni
Ore o okizari ni shinaide

So please don’ t let go
Nanimokamo iyagaru kimi ga
Son'nani ore o semete mo
Dōsureba yoi nda yo

So please don’ t let go
Kimi ni subete o sasage teta yo
Ai o ushinaitakunaikara
Kore ijō ore o sakenaide

I’ m breaking down

down...down...down...down

Breaking down now

breaking breaking down down

I’ m breaking down

down..down...down...down

Breaking down now

breaking breaking down down

Futatabi au hazu wa mō nai tte
No way
Maiban yumenonaka
I see your smile your smile

So tell me

Dōshite konna koto ni

Baby nattoku dekinai yo

Konna baka mitai ni

Ore o okizari ni shinaide

So please don’ t let go

Kimi ni subete o sasage teta yo

Ai o ushinaitakunaikara

Kore ijō ore o sakenaide

Let’s breaking down
So please don’ t let go
Hey! I’ m slowly breaking down
I’ m slowly breaking down
So please don’ t let go
Kimi o ika setakunai
So please don’ t let go

So please don’ t let go

Kimi ni subete o sasage teta yo

Ai o ushinaitakunaikara

Kore ijō ore o sakenaide

I’ m breakin down

down...down...down...down

Breaking down now

breaking breaking down down

I’ m breaking down

down..down...down...down

Breaking down now

breaking breaking down down

[English Translation]

VI VI VI like this

Come step to this

I’ m breakin down

down...down...down...down

Breaking down now

breaking breaking down down

I’ m breaking down

down..down...down...down

Breaking down now

breaking breaking down down

I did believe Why?

You said it's only me

What is more for me

Don't say Don't say

So tell me

Why such a thing

I cannot convince Baby

Like an idiot says

Do not leave me behind

So please don't let go

It is everything you hate

Even if you blame me so much

What I may be

So please don't let go

I had dedicated all to you

I do not want to lose your love

Do not avoid me any more

We should meet again

Even if there's no more way

In the dream every night

I see your smile your smile

maybe taken out with credit!~

Balada Pra TA dan PHP Dosen

Selamat pagi, hari kamis pagi yang mendung dan gerimis di Lampung dengan kelembaban tinggi. Bukan, ini bukan laporan cuaca. Puasa pertama tahun ini di rumah sendiri walau fatamorgana ini hanya akan berlangsung selama beberapa hari karena harus kembali ke jogja untuk mendaftarkan diri menjalankan tugas mulia, Tugas Akhir.

Khusus di prodi saya, Arsitektur UGM, mahasiswa tua harus mengerjakan Pra Tugas Akhir dan Tugas Akhir sebagai syarat kelulusan. Pra TA (Tugas Akhir) adalah di mana mahasiswa mengerjakan konsep desainnya, yaitu mengerjakan tulisan sebanyak 4-5 bab yang akan diseminarkan sebanyak dua kali. Pra TA ini dikerjakan selama 1 semester atau 6 bulan. Lalu jika nilai Pra TA ini sudah keluar, mahasiswa dapat mendaftarkan diri memasuki Studio Tugas Akhir, yang terdiri dari Transformasi Desain (TD) dan Pengembangan Desain (PD). Lalu kenapa saya menjelaskan proses rempong yang ada di kampus saya? Ah, iya. Saya baru menyelesaikan Pra TA lho yang sudah saya tunda selama satu semester. 

Seminar dilakukan dua kali, seminar progress di tengah semester dan seminar akhir Pra TA, anak-anak di kampus sih menyebutnya sidang. Saat seminar progres yang datang hanya dosen penguji saya dan ketika seminar akhir yang datang hanyalah dosen pembimbing saya. Seperti biasa, dosen itu lebih PHP daripada gebetan ataupun mbak-mba ticketing di Empire. Dikarenakan dosen penguji saya tidak datang pada saat hari  H, saya dan 2 teman lainnya terancam menjalani seminar dua kali. Namun, barakallah, bersyukur dosen penguji saya tidak rempong minta diadakan seminar lagi, hanya meminta datang ke kantornya, orangnya sedikit PHP juga sih, karena sama dengan dosen pembimbing saya, sudah cukup senior dan sibuk sekali. Namun, cukup melelahkan dan menyenangkan berdiskusi dengan beliau, hal-hal yang tidak pernah diperhatikan dan diajarkan oleh dospem saya, beliau ajarkan.  

Revisi, revisi. Revisi periode satunya hanya dua minggu. Sudah dikerjakan. Sudah selesai. Permasalahannya sekarang, dospem saya jarang sekali berada di Jogja, hanya 3 hari dalam seminggu hari kerja beliau ada di Jogja. Terancam tidak mendapatkan tanda tangan beliau untuk lembar pengesahan. Oh, man. Masa saya harus menunda mendaftar tugas akhir 3 bulan lagi, saya selo mau ngapain lagi? Alhamdulillah dapat di hari Sabtu dan buru-buru saya jilid 4 rangkap. 

Seninnya sudah jadi jilidannya, sudah dikumpulkan, sudah dapat tanda tangan untuk surat rekomendasi masuk Tugas Akhir periode Agustus ini. Namun, surat pernyataan dari dosen pembimbing akademik (DPA) belum dapat. Susah juga bapak satu itu dicari. Yakinlah, DPA dan DPS itu lebih PHP daripada gebetan ataupun mbak-mbak ticketing Empire. Hatiku teriris :|

Alexander McQueen Autumn/Winter 2013 campaign

Introducing the Alexander McQueen Autumn/Winter 2013 campaign, featuring Edie Campbell photographed by David Sims.

Goldfrapp - Drew

This is a very poetic and beautiful video.

Exclusive interview with the emerging video artist Kilian Kretschmer

Meet Kilian Kretschmer, an emerging video artist from Germany. We're catching up on his inspiration, his future and his heroes...

Tell us a bit about yourself as an introduction

How did it all start for you and are you now with a gallery?

I was raised in Kassel, Germany. Thanks to my father, who studied art here, I understood early on that art is about making art. My genre is performance and video art. I like standing in front of an audience, even if I sometimes need to escape after a show. I've always been shy but I am really rewarded being in front of an audience.

I studied media art in Karlsruhe, Germany. On myfirst day at the University of the Arts and Design, I got to know my good friend Thorsten Schwanninger, who I’ve exhibited with many

times since, and we talked about the possibilities of connecting a drum set and a video interactively. I associated the rattle of old film projectors with a drum crescendo, and a year later, in 2006, we came up with my first performance, SCOMP. This performance was a big success and I was encouraged to keep on creating performances and video installations with a performative character. Not all of them have to do with my passion for playing the drums, but it is a recurrent element. I am not represented by a gallery yet, but I’ve recently started investigating for one.

What is the meaning behind your art, if there's one?

I’m motivated to map out the borders between reality and the virtual  I connect both fields using synchronization and comparisons. I talked about this at a lecture I gave on “the art of synchronization” in Ekaterinburg in 2009. With my performances and installations, I engage with the issue of transferring cinematic and virtual actions into reality. I bring up the questions of what is left behind, where the differences lie, and what the consequences of a direct transmission are.

The boundary between reality and the virtual world which in my work SUPERPOSITION is literally represented by a wall, also connects the two fields. The difference and the similarity between borders and connections is something that I deal with in many of my works. I try to create a sense of them by generating equal proportions of time-based and spatially-orientated properties in my art. I also like to follow a sense of balance.

Augmented reality, virtual reality and digital signage accompany us in everyday life. The technical developments behind these fields allow the borders between virtual and reality to blur. In my art, my priority is the emotional realisation of the positive and negative effects of this progress.

Tell us about the favourite piece you've made?

&4& remains very important to me. When I made this work, I found my way. It is also a performance and one that runs in a loop. The audience is encouraged to move freely around the work. I play with the perception of the audience, employing it to switch between time-based and spatial perception. I create a mutual juncture between both forms of perception. A pause in time, and in space, that both end synchronously. In this piece, I re-enact a film that consistently stops at a certain point and starts again at the moment when I return to this point in reality.

http://kiliankretschmer.com/und4und.html

Amongst others, I was inspired by the montage of filmmaker Artavazd Peleshyan, who I assisted during the first year of my studies. I had read a few books on film theory before that, but his way of defining a space in time within a film got me interested in trying out something similar on stage. As I said, I’m interested in the transferal that goes on between cinematic means of expression and reality.

&4& was my first real experience with an audience, because they were physically very close to me, and for myself as a performance artist, because the first time I showed it, it went on for an hour. The room was completely full and the people didn’t want to leave, so I kept on running it in a loop. I was trapped inside my performance and I enjoyed it.

What is your next project?

I’m currently finishing an original-style video installation. I just need a title. It consists of two CRT monitors from a video wall that stand two meters across from each other, facing inwards. Between the monitors, two mirrors in a sand heap form a two-meter high, rectangular pillar. If the viewer stands close enough to the pillar of mirrors, he/she will see the left monitor with their left eye and the right monitor with their right eye. Thus a three-dimensional impression of a stereoscopic 3D video is formed on the monitors, and you see me shoveling a sand heap in front of a mirror.

Because the video is also mirrored down the centre line, I can be seen twice in the

mirror while I am shovelling, whereupon an absolutely symmetrical sand heap arises out of nothing in the middle of the picture. The video shows a perspective that is impossible to achieve in reality. This work is about the separation of action and reaction, and false reflection. The viewer sees me shoveling in the mirror and the rise of the sand heap, but not in the same way as the sand flies from the shovel onto the heap.

Which other artists are you close to and who would you dream to

collaborate with?

Some works were developed in collaboration, like SCOMP and BEATMIKADO. A few

days ago I finished a flip book for the performance I want to become a millionaire by Thomas Geiger.

My website was designed with Nicolaz Groll. During my studies I frequently exhibited with Lukas Kindermann and Benedikt Dichgans. At the end of last year, I took part of a group exhibition at the Bonnefantenmuseum Roermond. The title NACHTFAHRT was borrowed from a work by Roman Signer, which was also part of the exhibition. The artists, including Roderick Hietbrink, Studio Oneindigheid, David Heitz and myself, were all selected because of their closeness to Signer.

My work can also be compared for example to Dan Graham, Anna Jermolaewa (my former professor) or Axel Kretschmer (my father). And since I’ve never quite let go of the dream of shooting a movie, I would love to work with a Hollywood actor, even if it would become a performance in the end. Ideally with Leonardo DiCaprio.