A MAGAZINE

A warm smile, vere questioning eyes, your fragile hands. Time and time again they combine

and seduce with their elegance and intensity.

We haven’t seen each other so much in the past few months. Enough though to guess who you

are. We sat at the table together. Listened to each other.

Sometimes you were very happy. Sometimes severe, when it seemed that we wouldn’t be able

to realize a story as we had imagined it. Sometimes very sad. Like when Michael Haneke didn’t

answer your pleas.

You are always apparently calm. No raising of the voice, no big gestures. Only that running

of your hands through your hair. That’s when, so you told me, a storm is ravaiging

within you. Your heart is pounding, your bones are in shock and your nervous system is

under attack. Only for a moment. Because when fear strikes, you wait patiently. With averted eyes

you remain soft and beautiful. Reserved. Always elegant.

Intense contradictions have become the string-point of this magazine. This issue is not

about Haider Ackermann: no interview, no praise, no fashion collection. You seem to be com-

pletely absent, but nothing could be farther from the thruth. Page after page, this magazine is

a mirror of you thoughts, the reflection of your desires, your everyday inspirations. Well-

considered and volatile, poetic and hard, melancholoc and rational, discreet and candid.

All of them paradoxes, inherent in your life, that meet at some point . Mostly in thoughts,

invisible, ephemeral. You made an effort to grasp this magical moment. To pour ‘la rencontre’,

as you like to call it, into images.

The moment in which every human’s strength becomes his weakness, whereupon his weak-

ness becomes his strength.

You succeeded.

Roger Ballen’s sometimes raw photos talk about the same pain as Funakoshi’s motionless

pictures or Hiroshi Sugimoto’s endless seas. The subtlety in Robert Mapplethorpe’s work

translates both in power and elegance. Berlinde De bruyckere’s oeuvre at times seems to be

a three-dimensional expression of Francis Bacon, or a still of the sharp emotions that Kazuo

Ohno conveys when dancing. Every contribution has its own story, independent from the

others, and still it seems as if an invisible thread connects them all.

You started from the photos on your memo board, Bacon, Nick Cave, Katja Rahlwes... and we

ended with this magazine, in which you gave people you admire, such as Serge Lutens or Will

Oldham, freedom of speech. Antony, Cris Brodahl, Raf Simons, Ann Demeulemeester... they

all made a contribution, especially for you. Asia Argento and Tilda Swinton shared a part of

their personal life with you.

Every story, chosen by you or made for you, testifies to an intensityand elegance you search

for in images, words and friendships.

Hilde Bouchez