Mårten Lange, From the Book, Another Language, 2012
“A physical delineation of nature terminates at the point where the sphere of intellect begins, and a new world of mind is opened to our view. It marks the limit, but does not pass it.”
Alexander von Humboldt (1845)
The aesthetics of science, nature and the materiality of things are recurring themes in Mårten Lange’s work and in Another Language, his first major publication, Lange delves even deeper with this fascination for the natural world.
Combining images of flora, fauna and natural phenomena in an intimate and beautifully crafted book, Lange teases out a subtle narrative – a meteor crashes, a landmass is visible and a distant planet occupies the final page – but the book is more akin to the workings of a scientist collecting specimens. Together the photographs create a cryptic and heterogeneous index of nature, with recurring shapes, patterns and texture, where the clarity and simplicity of the individual photographs contrasts with the enigmatic whole.
Shot in his signature black and white style, his subjects are isolated from their environments, taking on sculptural qualities. Ranging from the sublime (lightning, mountains, a star) to the commonplace (ducks, rocks, a fish), these phenomena all attain equal importance through the democracy of Lange’s photographic treatment.
Mårten Lange was born in 1984 in Mölndal, Sweden. He studied photography at University of Gothenburg in Sweden and the University for the Creative Arts in Farnham, United Kingdom. He has previously self-published four books, including Machina (2007) and Anomalies (2009).
Sanja Iveković, Practice Makes a Master, Performance, 16:38 min, 1982/2009
Sanja Iveković, born 1949 in Zagreb, is a Croatian photographer, sculptor and installation artist. Considered to be one of the leading artists from the former Yugoslavia. Since the beginning of her artistic career, Iveković has always been interested in the representation of women in society.
Among her early works are Double Life, 1975, where she pairs 66 photographs of her private life with similar shots of models in magazine advertisements, Make Up-Make Down, 1978, with filmed or photographed self-portraits, and General Alert: Soap Opera, 1995, produced for television. Figure & Ground, 2006, depicts collages of female models looking like armed terrorists covered in blood and wearing military-inspired clothing from top designers.
Iveković has also been effective in her sculptures. In 2001, she copied Luxembourg’s national symbol Gëlle Fra (Golden Lady) but making the woman look visibly pregnant. Topping an obelisk which for some time was placed in the vicinity of the original, her Rosa Luxembourg caused considerable consternation. Women’s House, an ongoing project since 1998, displays plaster casts of the faces of abused women arranged in a semicircle.
At the 2010 Gwangju Biennale, Iveković’s On the Barricades was a living memorial commemorating the Gwangju people’s uprising of 18 May 1980. Based on her Rohrbach Living Memorial, 2005, depicting the fate of the Roma victims of the holocaust, the new presentation was enacted by volunteers representing statues of the victims. They were surrounded by 10 monitors presenting slideshows of photos of the 545 victims, whose eyes were intentionally closed by the artist.
Three years into her run at Celine, Phoebe Philo has been mainstreamed. Her accessories have become the status symbol for the upwardly mobile woman—you can’t go a block on the Upper East Side without bumping into a Luggage bag. For Resort, she’s introduced two new shapes: the All Soft, a zipless, fold-over tote with a “baby” pouch inside, and the Edge, which as its name implies, has a more structured silhouette.
On the clothes front, this season wasn’t so much a moment to introduce fresh ideas as it was to reassert house signatures. Leather continues to be of paramount importance. It was cut into variegated stripes for t-shirts and used on coats with horizontal panels that unzipped to create different silhouettes. Python featured too, most extravagantly as the patch pockets on a cashmere sweater. And scarf prints also made a reappearance, most interestingly on a pair of shorts and a shell top that were both veiled in a sheer white material.
If there’s a piece that the Philo girl will have to have, it’s the full, flaring trousers with deep stripes of contrasting color at the hem. The cut is great, for one, and two: Those in-the-know will instantly peg them as Celine. For a fashion insider, that produces the same kind of frisson as carrying a Luggage bag does for that Upper East Sider.