Everything happening Freestyle...

Ja, Hier!

Most Kids like to do collages. It is an intense way of learning to express your thoughts, feelings and doubts of experienced situations. The process of selection, cut, overlay and stick together is highly entertaining; plus one re-experiences. At best the results are beautiful. Most grown ups stopped doing collages somewhere between braces and university. Luckily 28 years old, Berlin based Janica Hieronimi did not. Ja Hier creates virtual art work in form of high standard prints. The mood of her personal narration ranges from clinical coldness until fluffy and hippie-esque, always maintaing an arc of suspense.

After a kick-off in Travemünde earlier this year tomorrow sees the Vernissage of her second solo exhibition in her hometown Hamburg.

Friday, October 14th // 8:30pm Makrele Bar // Talstraße 29, Hamburg

Paul Vickery: Transition

In his latest project Transition, Paul Vickery explores the complexities of teenage identity. While observing a group of street dancers and free runners in a small town in South West England, he felt compelled to record the moment, then spent nearly two years documenting his observations. “As the project evolved I became interested in the period of transition between teenage years and adulthood.. the more subtle ‘in-between’ moments caught my attention, hence the title.”

Paul Vickery TRANSITION Runs October 7 – November 4, 2011 Private View October 6th, 6.30-8.30pm Open Mon-Fri, 9am-6pm Bayeux 78 Newman Street London W1T 3EP


We were given the amazing opportunity to take part in the 5th Year anniversary celebrations at the Luxembourg Museum of modern art; or MUDAM. Aside from making an exhibition of flying discs and presenting my photography portfolio we also had full access to the grounds and Museum to shoot a video. We wanted to follow up on our success of "Urban Disc invasion" with another belter where we bounce discs off walls, artwork, people and whatever inspires us or gets in our way- and the weekend saw a lot of inspiration indeed. We started the weekend warming up with the Luxembourg populous outside of the She Hannibal which was parked in the beautiful grounds of the Museum. Mudam is built on-top of fort Thüngen and cost over 100 Million to build. Even so the FSM crew got to climb all over the place and throw discs about, in our pursuit to make a great film. She Hannibal sat right in front of the fort on a stretch of grass overlooking the whole of the city and once we got the 7 inch records on the turntables and blasted out some Northern Soul music we felt very much at home. And it didn't stop there: the guys at MUDAM treated us like VIP´s. We had Anna Loporcaro taking care of our every need while Stina was on hand always with her cool and relaxed demeanor. In-fact all of the staff from catering to security to Museum Guides embraced us and made us feel like kings. This goes to show that the old anecdote is true about how atmosphere filters down from the top and at the top is Enrico Lunghi the Museum director who was open minded enough to welcome us in his Museum. I was very proud indeed to get recognition for the magazine from such prestigious people. Saturday saw the celebrations proper with an amazing line up of entertainment, free flowing champagne and tasty food. Many people came to relax on our She Hannibal carpet,sit on her rooftop terrace or just throw Discs around. The lads were great and we made a lot of friends that night. Inside the Museum hung over 100 discs from 1960 onwards with corresponding trivia and facts. Finally our sport is being recognized as an art form- something maintained by players since the 70´s. After much fun and laughter we retired to our grass behind the Museum to settle in and get ready for Sunday´s Frisbee action. Sunday morning saw glorious weather and a good turn out from the luxembourg people who brought picnics and blankets. I think on that day we brought many people into the sport- particularly kids -who enjoyed the workshops and games and girls who seemed to enjoy watching the lads play Frisbee! If you have not yet seen "Urban Disc invasion" then click HERE ...and watch out for the new video coming  soon!


PHOTOGRAPHS BY Anton Capellmann and Jason McGlade


We were asked to show FSM at Luxembourg´s premier concept store, Capsule. It was a great way to warm up for the Mudam Birthday weekend and meet some of the cities finest. When we rolled up in She Hannibal- melody horns twinkling and air horn blowing we certainly turned heads. It was a good start to our adventure and we met some great people but by eleven we had the she Hannibal already parked up on the grounds of the Museum of Modern Art and prepared for a great weekend of filming and fun.


http://www.youtube.com/watch?v=3R21GbZzoLo We have been invited to present FSM at the fifth anniversary of the MUDAM Luxembourg museum of modern art. We will once again make our frisbee disc and magazine exhibition and a party bang in the center of the city. The museum was so impressed by our last video that they have asked us to do our stuff inside the building-the ultimate marriage between Flying discs and art! More info will follow. Dates from 30th June till 4th July-

Titled, 2011

Berlins oldest school for photography, Der Lette-Verein, hosts its yearly graduation exhibition vernissage tonight.Until June 19th you can see under the name ”titled, 2011” work of 24 alumni in the field of photography and video art. The exhibition will be accompanied by panel discussions about contemporary photography.

Daily 2pm-8pm @ STATTBAD Wedding

ph.: Christoph Mack

ph.: Lydia Hesse

ph.: Dominik Wagner

Borscht 7

The Borscht Film Festival was established in 2004, the brainchild of cinephile high-school students who saw the cinematic potential of their beloved hometown Miami, Florida as something of an untapped resource.The mission: Produce a festival, fully operated by the contributing artists themselves, using  Miami itself as their collective muse.

On April 23rd, 2,100 people were in attendance at Borscht 7 at the Knight Concert Hall in downtown Miami's Adrienne Arsht Center - something that might not have been conceivable not too many years ago. After the success of last year's Borscht 6, several of whose films went on to screen or compete in other festivals like Cannes and Sundance Film Festival, the John S. & James L. Knight Foundation bestowed onto Borscht a two-year $150,000 Knights Award Challenge grant. On the first go the Borscht team ended up commissioning 19 films to be created specifically for Borscht 7 (one didn't make it) and from green-light to finished product, not even 60 days had passed.

For the creators of Borscht, putting Miami on a proverbial cinematic map is as much about highlighting and harnessing individual talent as it is about the stories and the glimpses into essential Miami that each film manages to capture. That particularly Miamian variable could be as obtuse as a Portuguese Man o' War inside of a glowing tank or as bombastic as Spanish programming on television. It takes people who have lived there to extract the delicate eccentricities Miami holds. For years, the city's image has been lost, buried under a heap of appropriated T&A. To get the stories that happen in the real Miami, the one across the bridge from South Beach, you're going to have to go a different kind of native. Here are some of the highlights from Borscht 7:


Julian "Bearclaw” Rodriguez (5 min)

Starting the whole thing off was Julian "Bearclaw" Rodriguez's documentary-style recounting of the theft of his precious boat at the hands of allegedly Cuban canal pirates operating in West Miami. Tug-boat wielding canal pirates is the clay of Miami. Any Miami native can relate to that kind of esoteric touch. But the real star was Rodriguez's own comedic gravitas. From the way he hauls ass down the street, half-naked with a shotgun in hand, to the way he abruptly curtails his story, distracted by cute little canal ducklings - the whole five minutes was totally invigorating. "Piratas" was unexpected and produced more genuine laughs out of me than anything I've seen in a good while. It's levity was infectious and as an opener for Borscht 7, it made one feel like they were in for a good ride.

The Haircut

Artex Productions (5 min)

A man walks into a barbershop looking to do something about his bad haircut following a less than perfect date. He walks in and is greeted by the creepy barber du jour and the feeling hits him instantaneously - there's definitely something amiss in that place. As an audience member I could've told him that what was amiss was getting a haircut at 11 o'clock at night, but as he comes to find out, he has just entered a front for a coven of Matt Le Blanc worshippers.

Otto and the Electric Eel

Duncan Skiles + Andrew Zuchero + Otto von Schirach (6 min)

Cuban/German artist Otto von Schirach stars in "Otto and the Electric Eel," which manages to be both one of the more "out-there" entries at Borscht 7, as well as one of the more conventional. An inter-dimensional eels sparks to life Frankenstein/Kelly Le Brock style as Otto prepares for his impending dinner date. Conventional arch, which made it feel like one of the more true-to-form short films on the docket, while anchored by its strange ability to make the macabre look off-the-wall.

Play Dead

The Meza Brothers + Rachel Goodrich + Amigo the Devil (20 min)

'Homeward Bound' meets 'The Stand' in the Meza Brothers' kinetic envisioning of a Miami torn asunder by a zombie apocalypse, as seen through the eyes of a pack of dogs. Packed with a good dose of zombie gore, Tarantino-like squad member/ doggy profiles, a couple of AK-47s and one hilarious zombie who can't stop walking her dog, the Meza Brothers made quite the argument for bringing Miami down. So what kind of love letter to Miami is this? Well - doesn't it have as much a right to total disaster/zombie movie annihilation as any other Emmerich or Romero torn city? If some ascetic high up in the Alps can get a good disaster scene in last year's '2012', surely a Miami jogger can get what's coming to them too.

*I Am Your Grandma

Jillian Mayer + Michael John Hancock (1 min)

*We as Me in 3-D

Jillian Mayer (1 min)

*Life and Freaky Times of Uncle Luke

Jillian Mayer + Rakontur + Uncle Luke (7 min)

And then there was performance artist Jillian Mayer's notable triumvirate: "I Am Your Grandma" - a clear crowd favorite, "We as Me in 3-D" and "Life and Freaky Times of Uncle Luke". "IAYG" is Mayer's ode to her unborn grandchild. The message was clear: 'Your grandma was a freak. You better believe it.' A one-minute googoo ga ga ala Aphex Twin about sums it up.

"We as Me in 3-D" served as a performance art piece that deconstructs and anthropomorphizes 3-D. Could be read as Mayer's way of reverting what many see as a trendy blight in film. Or not.

Her last, "Life and Freaky Times of Uncle Luke" has Miami's iconic and notorious 2 Live Crew MC enjoying a lollipop as he reflects on changing the rap game, prevailing in the face of the Supreme Court and the burgeoning of Miami under his leadership as Mayor of the city. Eventually, Uncle Luke falls prey to the man once again in a scientific probing experiment that plays like 'Marathon Man' by way of Yo Gabba Gabba. The kiddie TV show set and general artsiness aside, it manages to put some perspective on someone whose use, and some feel - abuse, of the right to free speech helped America to not be such a prude.

We're still not completely sure if Uncle Luke - whose repertoire covers golden oldies such as "Me So Horny", "Face Down, Ass Up" and "Pop That P***y" was serious when he addressed the audience after the final film that night and announced that he did truly have plans to run for Mayor of Miami. As far as the eclectic group of 20-somethings that run the Borscht Film Festival are concerned, he's got their full support.

Text by Alexander Patino, New York City Images by Ciara Osorio

Get A Life

Submitted by Arkan Zakharov

Images create thoughts and feelings, in a different way than words do; even if both tell the same story. If I read about hungry children it makes me sad, if I see a picture of undernourished children it might make me cry and I m going to have this image in my head for a few days at least. Now this is quite an explicit example but what about more abstract images? Our imagination is jolted and each person finds their very own interpretation. The other way around with words, reading about something our mind and subconscious constantly generate images based on experiences, so called knowledge, projections and dreams. To change the order of watching/reading reading/watching can make an interesting difference in our conclusion, unfortunately it is not possible to exercise both ways on the same example.

This was a very short process of thinking, after thinking you should take a position and after having a position you should take action. Vivienne Westwood Anglomania and Lee Jeans aim to encourage interaction and individuality, for this they provide you with an online platform to speak up. 100 Days of Active Resistance shows an image per day selected among your submissions.

Today is #37 so there are still 63 days left for all of you.

“The principle idea of Active Resistance is that you get out of life what you put in and that real experience of the world involves thinking” – Vivienne Westwood.

All images shown in this post have a text/theme/slogan. You will have the time of a few clicks to feel and think about them, besides the preconceived ideas by naming who submitted, until you read it in the gallery.

Submitted by Susie Bubble, Style Bubble

Submitted by Alister Mackie,  AnOther Men


Winner of the 2010 "Experimental" Vimeo awards. Chris Beckman uses seemingly random YouTube material and cleverly chops them up and puts them back together to create a fantastic video in its own right.

He explains it in his own words: "Somewhere between a home-video mixtape and a postmodern travelogue, "oops"—a ten-minute art video composed entirely of appropriated YouTube videos, seamlessly stitched together via a motif of camera drops—serves both as transportative adventure and metaphorical elucidation of YouTube itself (i.e. endless related videos), exemplifying the Internet's infinite repository of "throwaway" social documentation. From suburbia to subterranea, the radically shuffling environs induce a vertiginous yet aesthetically contextual thread—a transcendent, reincarnating POV; our omnipresent Camera—by which, the nature of the ultra-verité videos, eschewing any filmic grounding, plunges the viewer into a relationship of fleeting immediacy w/ its many videographers: a self-portrait at arms length, the digital blur of an obscuring thumb, a disembodied narrating voice. This abstractly voyeuristic portrayal of an ever-filming generation (who won't let the transcendence of being in A Moment inhibit their document-everything impulse) presages a future where every instant of our existence, from the mundane to the sublime, is preserved and catalogued for all to see."