SEXYMACHiNERY is an Architectural Production in activity since 2000 from London, Copenhagen and Baden-baden. #01 (There Are Ideas in Feelings, a magazine) , § Editorial ‘Now, you are lying in bed at night and you stare at the ceiling and you can’t fall asleep, intensely. Or you think that summer is finally here and those dank, heavy months have gone, at least for a little while. And then in Pierrot le fou — Godard’s paean to mad love — the tempestuous Marianne reminds Ferdinand that “There are ideas in feelings…” Then this strange open-closed space forms in your stomach and the world around you feels just a little lighter than it should. This is what sexymachinery is. It is easy for a new journal such as this to make fantastic claims about the subject of ‘architecture’. Our rationale, is to claim the word ‘architecture’ from within the realms of professional discourse and everyday life to examine its volatile position between the two. One contemporary paradox for the architect today is illustrated in these two views: 1.“…architecture gives shape to space. Space is what surrounds everything that exists in space. That is why architecture embraces all the other forms of representation… it everywhere asserts its own presence.” (H.G. Gadamer). 2. A more recent account portrays architecture in a “position of a lover enumerating his positive qualities to someone who has lost interest”. (Rem Koolhaas.) Between the encouraging compliments of the former (a philosopher) and the resigned irony of the latter (an architect), resides the peculiar predicament of architecture-today. A more consistent version of ‘architecture’ has persevered. This is the currency of the term at a more general social and (non) symbolic level in culture at large. Meaning, the way it lodges in people’s minds as a cliché or a personal necessity and everything between. From this perspective, architecture provides a multitude of ‘sites’ from which the world can be viewed and changed. sexymachinery offers itself as a new specific ‘site’ within which producers from a diverse array of disciplines (that include architects, writers, artists, fashion designers, photographers and graphic designers) can offer work they believe is ‘architectural.’ Whether or not YOU believe each individual’s assertion is a way of testing through provocation the semantic and ritual definition of when something is ‘architectural.’ We are thrilled to present the inner workings of Sophie Calle’s miscreant mind by Guy Mannes Abbot; new personal work from John Warwicker of Tomato; a survey of the work of the English conceptualists, Boyle Family; and a panoply of subjects that veer from sexual distortion in Japanese girls’ comics to letters between Posh and Bex; Rebecca and Mike offer a reflection on ‘pork’; we unveil a new, better Finnish Flag and go on a hunt for sharks in popular culture. Oh, and a few sad stories… Where we consciously differ, perhaps, from other incarnations of architecture in print (be it L’Esprit Nouveau in the 1920s, Archigram in the 1960s or Architecture New York in the 1990s, now sadly expired) is that sexymachinery doesn’t seek to define ‘The New’, and stays well clear of any professed ‘zeitgeist’. For us, the ‘new’ is an already outdated version compared to the ‘now’. Formally, the structure of the journal discloses our strategy of a ‘loose editing’ by presenting an assemblage of units by individual authors. These vary in tastes and tones. sexymachinery is the reading equivalent of a Lego-set: although we suggest an order of construction and, therefore, of consuming, the reader has the responsibility of his/her own likes/dislikes. One option is to throw all the contents away and use the gatefold for filing your receipts…sexymachinery will continue to recreate in words and images that giddy feeling in your stomach – which already encompasses a thousand ideas — every six months. Our deepest thanks go to everyone who has helped us along the way. We hope you enjoy our mechanical stab at happiness. § Colophon A magazine edited by Shumon Basar, Domink Kremerskohten and Stephanie Talbot; designed by Patrick Lacey and Kajsa Stahre —from the RCA and AA in London. Summer 2000. 2000 copies, printed mainly by Xtraprint on sponsored Munken paper and collated by hand. Includes cover in wallpaper and metal binding device . Retail price: £5. § Availability This issue is sold out but you can download the whole magazine in pdf format from the contents section § Contents Das War Zaha by Caroline Wegener; Manual by Sexymachinery; Mummy, Turn The Lights On… [1][2][3][4] by Susann Schweizer; sc is [1][2][3] by Guy Mannes-Abbott; Småland by Kajsa Stahre; Proposal for The New Finnish Flag by Maki et Benjamin; Nobody's Tower [1][2][3] by Dominik Kremerskohten with images by Silke Klinnert; Memories by Nada Prlja Serafimovski; A Wake Ning by Neil Robert Wenman; Argos Fine Art Festival by Hares; Hand-rendered Technology and Precision Instruments by Nick Barba and Sean Murphy; No.3 7 Minutes [1][2] by Gila Kaplan; Boyle Family [1][2][3] by Stephanie Talbot; Where Have You Been My Blue-eyed Boy? [1][2] by Alphaville; Pork by Rebecca & Mike; The Little Hobo and The Unnamable Name by Shumon Basar; What Would You Like To Say to an Unknown Person in Terms of Love by Nada Prlja Serafimovski; Family Ties by Nada Prlja Serafimovski; A Pure Modular City [1][2] by Patrick Lacey; Guide for Organised “Love of Nature and Comprehension of Natural Sciences, in Particular Zoology” by Vita Zaman; Sharks in the Public Eye [1][2] by Maria Burnett-Gaudiani; Where is the Edge [1][2][3] by John Warwicker from Tomato; Oven Digital by Unknown; Architect's Partypieces No 69 by Oliver Domeisan; Dreams of Remote Worlds—Stories of Homosexual Love and Transexuality in Comics for Girls in Japan [1][2] by Catell Ronca; Love Will Not Tear Us Apart [1][2] by Shumon Basar; 582.734.4 [1][2] by Barbara Pfenningstorff; You Were Born Naked [1][2] by Lena Arteker; Joan of Arc […] [1][2] by Parag Sharma; Gratitude by Sexymachinery; The Posh—Bex Diaries No.1–3, No.4 by Peter Carl. § Appendix See the flyers which were produced to gather the contributions , and . -------------| -------------| #02 (We Work, You Watch, a participation in a group show) § Editorial § Credits The contribution by Sexymachinery was conceived and made by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher and Kajsa Stahre. The furniture is made after Kotatsu by Maki Suzuki. Dates: Autumn 2000. London. Free Entry § Views of the installation , § Appendix Other exhibits from Martino Gamper and Jon Hares . -----------------| ---------| -----------------| #03 (How to Disappear, a participation in a biennial of moving images) § Editorial An evening of live interventions is organised by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher and Kajsa Stahre within the Lux Pandaemonium festival. Date: 04 March 2001. London. Free entry § Line-up § Documentation . ------------------------------------------| -------------------------------------| ---------------------------------------------------------------| #04 (How to Disappear is How to Appear Completely, a magazine) § Editorial “The bomb that destroys my house also damages my body in so far as the house was already an indication of my body.” JEAN PAUL SARTRE. Architecture has traditionally denoted a stability that is founded upon our desire to feel safe. Unlike the ebb and flow of societal flux, fashion, TV programmes and promises made by politicians, one wants architecture to appear and stay there – ideally in a state of new perfection. Unconsciously, one aligns permanence with strength, and strength with reliability. But buildings, as we know, can be brittle. They suffer the capacity to perish, either gradually, or instantly. Architecture’s appearance falls under the spectral threat of its unpredictable, inevitable disappearance. But the logic of the mind ensures things that disappear from view are graven into new images of acute internal visibility. This issue of sexymachinery continues our project to celebrate architecture’s inimitable position within cultural production and personal desire. Though not all of the contributors have intentionally worked within the theme – disappearance and appearance – when viewed collectively under such rubric, certain sentiments appear to repeat and ricochet, obliquely, potently. Langlands and Bell dissolve a found building with a neon code; Madelon Vriesendorp (with Charlie Koolhaas) offer us a guide to the mind; Guy Mannes Abbott builds nothing on bridges; East Architects go on a picnic through London’s Dulux coloured peripheries and we have a special document from this year’s Pandaemonium Festival (held at the now sadly demised Lux Centre). As before, a cocksure array of thinkers and doers from various fields has congregated in these unfoldable pages. They confess and explain, celebrate and berate. Most of all, they are acutely genuine, generous and inspiring. We thank them all. § Availability This issue is sold out but you can download the whole magazine in pdf format from the contents section § Contents Manual / You collect these funny things: Madelon Vriesendorp’s Archive / East / Kotatsu / The mind guide / Langlands & Bell / A space by Åbäke, graphic designers / Blue / Charlie Koolhaas / The highway / Silke Klinnert / Mecca McDonalds / Jon Hares / Lauren Bonner / Oliver Michell/ Lord Lucan / Prison collection / Homeworkers needed / How to make money disappear, part one and two / Dagmar Radmacher / Index / Call for entries / Maria E. Burnett-Gaudiani / It’s your mum / Marie Bertholle and Erik Gaspar / Celine Condorelli / Outakes from New York / Editorial / Guy Mannes Abbott / Madeleine’s hair / The idea of armenia/ Kyle Bartlett / Rachel Abrahams / Credits / Adidas / Mandarina duck / Martino Gamper / TCA / Helen Evans and Heiko Hansen / Extempore / Shumon Basar / Petra Marguc / Pandaemonium Festival / Ellen Pronk / Eline McGeorge / Hi-res! / K10k / Twilight / Shane Bradford / Uncopyrightable / Disappeared / Neil Robert Wenman / Old before my time / Vanessa Billy / Dieter Brandt / Bad karma girl. Download the A1 format, A2, A3 § Colophon A magazine edited and designed by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki. Host designer: Dagmar Radmacher. Guest editor: Maria Burnett Gaudaini. Winter 2001. 2000 copies, printed mainly by Xtraprint on sponsored Munken paper and collated by hand. Includes cover in handmade jaycloth folder. Mandarina Duck and Adidas financed the printing. It resulted in specific collaborations you can download here and here. Retail price: £12 § Appendix Call for contributions flyer , . ---------------------| ---------------------| ---------------------| #05 (I Look at You, You Look Like Me, a magazine) § Editorial Portrait… problem of recognition, therefore fundamental problem of meaning, always-already. However, fatal difficulty of the motif of 'inner life'… window to the psyche of psychologists (of which the most beautiful example is the madman of Gericault) rather than to the psyche of the theologians or ancient philosophers, which moves in precisely the opposite direction… hence portrait as the thematics of remoteness, city as 'portrait' (embodiement of collective life, the 'incarnation' of the anonymous claim of 'city'—solidarity (without salvation)… PETER CARL § Contents Portrait poster cover: Portrait of Insane Woman and Portrait of Madman by Theodore Gericault, 1822; The Garden of Earthly Delights by Hieronymus Bosch, 1504; Editorial 1 / Peter Carl; Fig. A to O; Booklet: It Shall Be Inventoried by Jemima Montague; A Portrait of The City, The City as A Portrait by Richard Wentworth in conversation with Neil Robert Wenman; Has Death Become Sexy? by Natasha Ponton; Portrait by Rainer Erlinger; Absurd and Cryptic by Guy Mannes Abbott; Reading by Poly; Changing Identities by Fredrik Andersson and Maria Nygren; Strawberries and Cream by Dagmar Radmacher; Frank Israel by Aaron Betsky; Portrait / Landscape by Shelley Fox; Forms of Decay by Shumon Basar ; Apostasy Is Difference by Selana Vronti; Jon Hares; Portrait of Lauren by Lea Phibbs; Portrait of Patrick As Mother and Child by åbäke; The Red Book by åbäke; Selfportrait as Pens by Nick and William; Single White Grapefruit by Lauren Bonner; Uhu / Proposal for Headwear by Jonnyrox; Saturday Night Modulor by Gaspar Libedinsky; Pedro fernandez; Imagine, We Are Friends and I Took A Picture Of You... You See The Photo And Didn’t Like What You Saw by Matthias Edlinger; Mirror by James Goggin; The Wonder Wheel by Eugene Park; Untitled 2002 by Ceal Floyer; Family Together by Gaspar Libedinsky; Dreamy Girl B&W by Mads Quistgaard; Reading Labels, Going into Buildings: Horror and Good Housekeeping in Todd Haynes’ Safe by Michael Ned Holte; Flagz by Charlie Koolhaas; Impermanent Tatoos by åbäke; Vehicles I’ve Had. e.o by Vaughan Oliver; X-Ray-Scan-Man by Simon Harvey; Dear Lauren by Lauren Phibbs; A Dress for Mouths: Fashioning Faciality by Brandon LaBelle; Call for submissions: winter sexymachinery; The City as A Duck by Parag Sharma; The Dreams Growing Up Realisation by Reem Sharif; Subjectivity & Style: Translations from Here to There by Patrick Lynch; Minimalism by Emma Persson; IHateSonya by Peter Jensen; On Pre-tourism by Emily King ; Those Eyes, That Mouth: The no-face of LA by Shumon Basar; Editorial 2 by I look at you, you look like me; Details, credits and gratitudes by sexymachinery; Landscape poster back poster: Fig. P to Z; Insert 1: A Discographical Self-portrait by Ian Gabb, printed in letterpress at the Typography Workshop, Royal College of Art; Insert 2: Form Is Function And Function Is Form by adidas and sexymachinery § Colophon A magazine edited and designed by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki. Summer 2002. 2000 copies, printed in Germany, stamped and signed in London , , . Retail price: £8.75 or €13.99 § Availability There are 12 copies left at £8.75 each. Please email to purchase § Appendix The London launch saw absent friends such as James ans Sian Goggin to fax themselves from Auckland to attend and Dance to DJ Ian Gabb's tunes, who followed his Discographical Self-portrait . ----| ---------------------| --------| #06 (Wish We Were Here, an exhibition) § Editorial We are invited to exhibit in ABC Aoyama bookstore in Tokyo , , . The lack of budget doesn't allow any of us to fly there. We therefore fax/email ourselves 'sleeping' to inhabit on the top shelves of the place . Given the somehow international nature of Tokyo, we each provide an explanation of what Sexymachinery stands for in our mother-languages. , , , , , , , , § Credits An exhibition edited and designed by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki with Carsten and Jun Schwezig, Yoshiko Chiba and Nakazawa san, . Autum 2002. Free Entry § Documentation , , , , , § Appendix Watch the film presented in the show . -----------------------------------------------| ----------------------------------| -----------------------------------------------| #07 (Freeform Five, an on-going art direction and design of record sleeves) § Editorial On the request of ex architecture student turned DJ and music producer Anu Pillai, the whole sexymachinery team ventures in art direction and graphic design. The logo acknowledges the somewhat absurdly large number of designers we are by using the surrealist exquisite corpse game. , § Discography 2003: Electromagnetic promo EP 10'' vynil ; Electromagnetic EP 10'' vynil , ; Eeeeaaooww Single 12'' vynil ; 2004: Easy/Slow Single 7'' vynil , , ; Bisous Bisous Double CD compilation , ; Strangest Things Single 12'' vynil ; Eeeeaaooww Single 12'' vynil ; Strangest Things Album CD Promos , ; Strangest Things Album 12'' vynil gatefold and CD , , ; § Credits Art direction, designs, illustrations, photography and prop making by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki except 600kg album logo by Martino Gamper and Eddy Mundy , album photography by Perou § Appendix Making-of ,,, , Official website. ---------------------| ---------------------| #08 (There Is No Place Like Sexymachinery, an exhibition and a talk) § Editorial We accept the invitation from Princeton University to exhibit and give a talk. Edited and designed by Shumon Basar, Domink Kremerskohten, Shawn McKinnon, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki. Dominik goes and get help from Shawn, who studies there. Each table represents one of us and offers a version of Frank L. Baum's Wizard of Oz in English, Swedish, French, German and Welsh. A yellow brick road is constructed and one of the serpentine yellow carpet leads to the wall but reappear on the other side, in the lecture theater where Dominik gives a talk . Each member of sexymachinery has chosen a few images and comments, Dominik voices all of them. It proves to be more difficult than expected. Princeton University NJ USA 2003. Free entry § Documentation § Appendix Audience from the talk are invited to contribute for the next issue . ---------------------------------------------------------------------------| ----------------------------------------------------------------------| ----------------------------------------------------------------------| #09 (Save Me from What I Want, a magazine) § Editorial If you had asked a Medieval man-on-the street ‘What is it you want to be saved from the most?’ he might well have answered, ‘The unforgiving flames of hell...eternal damnation...that kind of thing.’ Ask the same question today and the replies would no doubt encompass a wilder enumeration. Avoidance of a vengeful afterlife would feature alongside saving oneself from over-eating; over-spending; the J-Lo/Ben saga; Arnie and Dubya; sickly manufactured pop or terrorists with unruly facial hair. When the world rallied around Shakira’s emotive call for ‘Wherever, Whenever’, they didn’t predict the flipside to such ultimate, instantaneous mobility. The failure of secular liberation, as J. P. Sartre pointed out, is that you are banished to your own freedom. What a downer. Sexymachinery Nine is a celebration of the limits of desire and one’s desire for limits. Here, impulses, speculations and theories (that form unconscious codes to our lives) are made public. Our contributors want to be saved and in turn want you to be saved: from social worker palm trees, from over-sensational fake-lesbian kisses, from a lack of hope. As Traci Lords said of her teenage induction into the hard-core world of porn ‘Wild as I was, a little girl playing grown up, underneath I wanted to be saved.’ § Contents Cover: FRONT, Palm tee-shirt Photographed by Frans Hallqvist ; BACK cover and SPINE, Tokyo’s nest model by Stéphane Orsolini and Hiroshi Yamasaki ; SPINE, It has to Be Perfect by Lisa Torell; TOP EDGE, Liar, Liar by Lena Artaker; BOTTOM EDGE, The Great Fire of London 2003 by sexymachinery ; RIGHT EDGE, Hiding Places by Ben Chatfield ; CHAPTER 1: SAVE: It’s so new left vogue compiled by Shumon Basar; A message of HOPE for an uncertain future by Neville Mars; The Ruthless and The Innocent by Christopher Wortley; A Pig Saved My Life by Elio Caccavalle; I Had A Dream, Deer Friends, Kofie Annan by Smac Reynolds; From Leslie to Horst by Peter Rhmkorf contributed by Siko; CHAPTER 2: ME: Ideal Monsters by Anna Aleksandrovna Neimark; Tectonic signage by Jean Jaminet; Centrefold by James Irland; Mama Monster doth preach by S.B.; Switzerland by åbäke; Kjole by Marie Lund and Nina Beier; CHAPTER 3: FROM: End of Project by Sandra Parvu; The Rise and Fall of the Palm Project, Frans Hallqvist & Teo Carlsson by Martin Funnerdahl; Tokyo’s Nest by Stéphane Orsolini and Hiroshi Yamasaki; Saved from What I Wanted by Cynthia Davidson; A rudimentary Celebration of Divorce by Payam Sharif and Kasja Korczak; The Most Beautiful House in the World by Dominik Kremerskothen; CHAPTER 3: WHAT: Installation in South Kensington pedestrian underpass by Ben Chatfield; MacGuffin by Julia Spicer; Domino Book by EricandMarie ; Once Upon a Time There Was a Wolf by Natalia Ibanez; CHAPTER 5: I: The Penalty for Perfidy by Maria Fusco; Moving House to Get Home by Anna Kubelik; Lifestyle by Sir Eric Beyond; Man X by Nick West; A Shopping Alcoholic by Lisa Panting; Reason vs. Emotion by Matthias Edlinger; Truisms, Then and Now by Kathy Battista; Everything, Anything, Something, Nothing by Neil Robert Wenman (each issue is signed by the artist ); Swampthing by sexymachinery ; CHAPTER 6: WANT: SMSpoon by Shane Bradford; Eat My Desire Shane Bradford by Shumon Basar; Jon Wozencroft, All the Things He Said interviewed by sexymachinery; Roy Andersson, A Tribute by Sebastian Fieril; Marina Abramovic’s The House with an Ocean View by James Westcott § Colophon A magazine edited and designed by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki. Winter 2003. 109 by 160 mm portrait book, 146 pages with a sticker on the cover and handprinted bottom edge by the whole team with the greatly appreciated help of Frans, Johanna, Yoshiko and Helena , . 3000 copies, printed in the UK. Retail price: £5.99 or €9 § Availability There are 39 copies left at £5.99 or €9. Please email to purchase. -----------------------------------------------------------------------| ---------------------------------------| #10 (smX—Live, a live event) § Editorial The launch of issue Nine becomes an evening of live acts . Evening organised by Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki at the Architectural Association, London. 19 November 2003. Free Entry § Line-up Ella Gibbs , Martino Gamper , Man Somerlinck , Brandon LaBelle and sexymachinery , . Food by Martino Gamper and Music by Anu Pillai and DJ Palmen . Palm tree by Frans Hallqvist , § From Flawed Memory ‘I remember some of my friends couldn't get in and that it was warm in the lecture theatre of the AA. I recall some nice soup in the end by furniture designer Martino Gamper who spoke earlier about his practice, sitting on one of his designs (a log tree he made with Rainer Spehl and åbäke) It was interesting to see that the images behind him didn't relate exactly to whatever he was saying, creating an abstraction zone but it also provided him with forced transitions in case he had nothing more to say on a subject. Ella Gibbs started the night, I think. She passed the mike and we were 'allowed' to big up our auntie, girlfriend, whoever. Shy at first, the group phenomenon fired up to become a slow and warm sonic wave. That felt great, you know, pure audience participation. The film she showed next was more obscure, an interview of the magazine members. The sound was very difficult to pick up and the interviewees seemed rather impressed by the fact the camera was on them. Brandon LaBelle was great. In a way quite conventional in the experimental sense, erm… in a good way. You know, with abstract images on the screen while listening to abstract mixed sounds. Man Somerlinck was a mystery. He was wearing an old suit, showed old pictures (faded colours of suburban sites and families on the continent) while playing western music, if I recall correctly. Was this performed? His elocution was gentle and, combined with all the nostalgic element, I really felt like being somewhere else. At the end, we were reminded in the thank you moment that Frans Hallqvist had made the big palm tree in the lecture theatre and that the people scribbling/drawing on the overhead projectors were sexymachineries.' ---------------------| ------------| -----------------| #11 (A Manual of Love, Live, a live magazine) § Editorial Sexymachinery presents A Manual for Love, Live. Imagine a ‘live-magazine’ with talks, pop music theatrics, some meditation, secret confessions and personal enlightenment. Be warned though: this evening may change your love forever. Sunday 29th May 2005, 7pm - 2am Bethnal Green Working Men’s Club 42 Pollard Row, London E2 6NB § Line-up The following text was sent as an early email flyer. Spot the differences with the final line up : 'Performers include: Sir Eric Beyond – Stockholms most sensitive punkrockband, Shane Bradford – hearing your confessions, Philippe Ciompi’s translations, Shez Dawood – meditating for personal peace, Daniel Eatock – making use of intervals, Flávia Müller Medeiros – raising collective consciousness, Freeform five – singing stripped, Anthony Hampton, Glen Neath & Sophie Okonedo – Performing, Anna Melkersson clothingly linking the participants, Metronomy – bleeping beautifully, Michael Needham & Mark Pawson – spreading the discussion virus and Danyael Sugawara – recording history with a camera.' § Documentation 19h —Introduction 19h15—Romcom by Anthony Hampton with Glenn Neath & Sophie Okonedo; 20h10 —Metronomy ; 21h —THINKDONTHINK by Flávia Müller Medeiros; 21h25 —Meditation Piece by Shezad Dawood; 22h00 —Freeformfive unplugged ; 22h45 —Translations lecture by Philippe Ciompi; 23h10 —Sir Eric Beyond ; 23h45 —Jo Apps (Dj)____________________________________________During the evening: —Confession Booth by Shane Bradford; —Conversation Virus by Michael Needham; —Anna Melkersson has provided costumes to Shez Dawood, Shane Bradford and Erik Beyond , —Danyael Sugawara has documented the whole evening and given carte blanche for edit (in construction) —Love Messages by Markus Miessen & Matthew Logan Murphy —Working Men's Trattoria by Martino Gamper, Maki Suzuki and Kajsa Ståhl (this is disrupted by the lack of a license for the place, while Kajsa and Maki were also too busy, replaced on the spot by the generous Hugh and Simon § Credits An evening edited, designed and maintained by Shumon Basar, Hugh Frost, Noriko Fujioka, Simon Kinnear, Domink Kremerskohten, Patrick Lacey, Tom Mower, Leah Phibbs, Natasha Ponton, Dagmar Radmacher, Benjamin Reichen, Kristian Robinson, Kajsa Ståhl and Maki Suzuki. -------------------------------------------------------------| -------------------------------------------------------------| -------------------------------------------------------------| -------------------| #12 (More Is More, You are Here, a one-way website) § Editorial There is only one page. It is not linear and you can get there however you wish but once you know, once you have seen, it is too hard to pretend otherwise. § Credits Edited, designed and built by Jean-Claude Chianale and Maki Suzuki with Shumon Basar, Domink Kremerskohten, Patrick Lacey, Dagmar Radmacher, Benjamin Reichen and Kajsa Ståhl. ------------| ------------| ------------| -------------------| -------------------| #13 (THE END 13 June 2007, a conference) § Editorial ‘Everything ends’, promised the last season of HBO's Six Feet Under. The end is sad, the end is joy. The end is dead, long live the end. This is the last Sexymachinery ever, as George Romero could say, or Tina Turner. Better going with a bang than going forever. This event is part of a series of live interventions at the Serpentine Gallery. § Contents The End as the beginning, Things which refuse to end, cliffhangers, spin-offs, sequels, prequels, ellipsis (…) and et ceteras. § Availability Please come to the free event at the Serpentine Gallery on 13 June 2007 4pm to witness our demise. -------------------------------------------------------------| -------------------------------------------------------------| -------------------------------------------------------------| -------------------| #14 (...) § st. Pierre & Miquelon § -----| -----------------| ------------| ---------------| ---------------| Contact us for future events, donations, collaborations, contributions, critical discussions etc.