Archive for the ‘Culture’ Category

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Wikipedia bound

5 June, 2009

Wikipedia by Rob Matthews, 2009
5000 pages, fully printed

The wonderful world of the interweb is evermore glorious when reminded of the sheer vastness of information that it contains. Even more impressive is the notion that it’s  all held together by a seemingly haphazard yet infinitesimally detailed overlapping of data that spans across networks in an ordered fashion. What better example of this than in the pages of Wikipedia, the massively successful partner of the now defunct encyclopedic project Nupedia, which too was based on collaborative user contribution (experts exclusively on the latter) for reference content published and available freely under copyleft license. Long gone are those days of Encyclopædia Britannica infomercials with special offers on gold-embossed A-Z volumes requiring a sturdy new bookcase of their own. Not even the online version of the classic American public school library mainstay has been able to compete with Wikipedia and its magnitude of documentation that (despite its increasingly sophisticated system of editing and global moderation) is seldom permitted for citation in academic research due to much whinging by the establishment over its accuracy and lack of official review.

But of course much has changed since Wikipedia was launched formally in 2001, today with a tally of wikis (‘quick’ in Hawaiian or ‘what I know is’ in backronym) spanning 262 languages at a grand total of 2.9 billion articles in English alone. And thanks to the brilliance of Brighton-based artist/designer Rob Matthews, his 2009 project rightly titled ‘Wikipedia‘ demonstrates its immense scale through the actual printing and binding of roughly 2,529 articles comprising the niche featured articles section. According to Matthews’ mission statement for the project, his aim is to ‘question its use as an internet resource’ by ‘reproducing [it] in a dysfunctional physical form’. This single volume (photo above) equates to 5000 pages literally standing at a fraction of around 1/1,140th of all existing (English) articles. And aside from the obvious fantastical sight of seeing a book that is so much taller lying down than when sitting upright, the dimensional challenge it poses visually whilst in print is one that truly reaches the core of what Matthews hopes to achieve through this bizarrely tangible display of the virtual web.

Sarah Badr © MMIX

See also: Great unveiling (pieces at random)

Typographer’s bible (pieces at random)

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Underground evolved

3 June, 2009

As a consequence of not having had the chance to post over the last couple of months, I’ve missed out on announcing news just as it was breaking out on the aggregated feed circuit. But that’s not to say that any of the initial excitement or relevance has waned at all since then, especially when the headlining content added another unique dimension to the way in which we surf and enjoy the web — precisely the reason why the new site launch of R.fm still deserves a much coveted honourable mention as the site to watch closely in the upcoming months as it continues to reshape the frontier that exists between interactive blogging and dynamic multimedia. Taking off on 15th April and flying high ever since, the redesign of the online music channel/magazine/library/gallery dubbed ‘Acid Squaredance‘ was one that was much anticipated not least due to knowing how well the dynamic team of curators, designers and music-lovers over at R.fm Headquarters have managed to provide the much-needed answer to what was once music-based television programming in the past, but is now streaming on-demand in today’s digital and mobile age.

I have myself lamented on more than one occasion here previously over both the scattered nature of genuinely good music video content and the (lack of) comprehensive accuracy with which it’s reported (it’s precisely for these reasons that I began compiling my own finds onto Ampersound, so as to not lose track  of the bookmarks whilst doing the daily browse-through on YouTube, Vimeo, Dailymotion and countless others that are often not M[usic?]TV). Fortunately for the genuine music fans out there, the Acid Squaredance ethic is obviously one that serves to remedy this gap in the market by not only putting great videos into correct context, but by also allowing viewers to explore the artists/musicians/directors behind them — plus an added bonus of live sets, recommendations, and news at the fore in the world of art, design and culture. What’s more is that the new site layout is incredibly attractive, with its sleek monochrome interface punctuated by accents of colour and seamless navigation inspired by the Grid-A-Licious theme.

Pre-relaunch, my first experience of R.fm had been on the net-TV hub Joost a long while back, by then already a popular music gateway featuring a finely curated selection of recordings and video clips showcasing some of the finest specimens that the club scene has had to offer in recent years. With a solid following locally on the video/premier mobile platforms as well as spinning off into the Last.fm community and across the Facebook grapevine, the Stockholm-based network is deeply embedded within the culture it aims to curate as they work ‘in close co-operation with artists, directors, creative studios and imprints’. Post-relaunch, R.fm has come to aptly demonstrate the great potential of how well music-based content found across the web and in the hottest clubs worldwide can be compiled to form a single online hub through intelligent design. And the credit is owed to the creative team led by founder/creative director Joel Brosjö and design partner Suprb — the studio founded by Andreas Pihlström, who himself has recently relaunched his own site on the Cargo Collective platform where you can browse through his brilliant portfolio.

Alongside co-founder Ebrahim Isaacs, channel manager Gustav Bagge, and ambassador Lucho Ojeda (also running the dB night in Stockholm) on-board, you can rely on their channel for daily servings of visually stunning, high-resolution videos featuring equally impressive tracks ranging between techno, house and minimal to IDM, dubstep, and the more experimental variants of electronic music. You can sign up to the monthly newsletter, and also keep track of the regular stream of R.fm conversation, updates and current trendspotting news on Twitter @acidsquaredance and via the site’s Twitterfeed @rfmupdate. And after you check out R.fm’s must-see interactive section titled ‘Lookbook‘, you’ll have no doubt that the underground has truly evolved.

Sarah Badr © MMIX

See also: R.fm – Underground Evolved

Freeloading limit (pieces at random)

Ampersound (pieces at random)

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Arvikafestivalen

28 March, 2009

Click here for poster at higher resolution

Now that March has seemingly flown by without a trace, little obvious sign of the winter workload relenting has brought on the desire to fast-forward to the summer and some semblance of a real vacation. After thoroughly browsing through the summer festival pickings up for grabs, the selection has finally been narrowed down by the help of a friend who knows exactly which musicians to whom I’m most likely to fork over my hard-earned cash for three memorable days of performances and crowd revelry in celebration of some of the most talented acts on the festival circuit. And in this case it’ll be 1195,00 kronor (roughly £100) channelled for the Arvikafestivalen 2009 line-up that is massively (if not absolutely) unparalleled. Of course others such as Hultsfred, Roskilde, The Big Chill and Glade festivals are all fantastically enticing alternatives in and around the UK. But with this one being in Arvika — not to mention the inclusion of Nine Inch Nails on their ‘last tour‘ alongside new material featured by Fever Ray, Depeche Mode, Röyksopp, Jenny Wilson, KoRn, The Mars Volta and the eclectic list goes on — it’s almost impossible to pass up on the opportunity. Having said that, it might also be worth applying for a press pass prior to the 31st May deadline for some exclusive insights if you’re a photographer or journalist.

So if you’re reading this and already planning on going, feel free to get in touch for some fun camping coordination in July. And don’t forget to switch off your lights tonight at 8.30pm local time for Earth Hour!

Sarah Badr © MMIX

See also: Fever ray (pieces at random)

Beginning the end (pieces at random)

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Mideast unveiled

9 February, 2009

Untitled from the Like Everyday Series
by Shadi Ghadirian, 2000-2001
C-print, 183 x 183 cm

Following the rather successful inaugural exhibit at the Saatchi Gallery last October, the time has come for yet another show to take over the gallery’s stunningly spacious new home over at The Duke of York’s Headquarters in Sloan Square. Still in line with the geopolitical themes presiding in The Revolution Continues: New Art from China, the second installation sees Charles Saatchi travelling to the Middle East to compile the latest additions to a collection of work steeped in the controversies of history, politics, ideology and tradition. Unveiled: New art from the Middle East presents a group of artists primarily from Iraq, Iran, Lebanon, Syria and Tunisia, many of whom are based in the United States and throughout Europe. And it comes as a result of this variance that their work is diversely broad in scope, style, and media all ranging between full-room installations comprised of industrial materials to more intimately-sized abstractionist paintings. Having visited every Saatchi exhibit since The Triumph of Painting in 2005 (Wilhelm Sasnal’s Girl Smoking portraits are still firmly placed amongst my favourite contemporary pieces today), I am certainly looking forward to attending Unveiled this season.

Though admittedly as someone who has long been exposed to the art scenes of both Mideast proper and that which has situated itself around expatriate communities abroad with a connection to the region, I am curious to see how viewing such works chez Charles will impact my perception of the nature of these pieces as well as the general state of the thriving art markets of cities such as Cairo, Beirut and Dubai. And as was the case with The Revolution Continues, there are several artists whose work I will be particularly wanting to see: the photography of Shadi Ghadirian (image above), Kader Attia’s Ghost installation, the quilted mixed-media piece of Sara Rahbar, and the highly stylized paintings of Hayv Kahraman. Also in light of the beautifully clean canvas that is provided by the vast walls of  The Duke of York’s HQ, the collection will without a doubt be very much in line with continuing the Saatchi Gallery legacy of housing the work of artists not conventionally shown in other contemporary art institutions in London, and as such once more shaking up the art world to launch a trend that will sweep through the marketplace with just as much controversy as the talent that it serves to showcase.

Unveiled: New Art from the Middle East runs until 6th May, 2009.

Sarah Badr © MMIX

See also: USA Today (pieces at random)

New Saatchi home (pieces at random)

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Going indoors

4 February, 2009

As the young Dylan Ebdus and Mingus Rude overlooked the Brooklyn-Queens Expressway, a tag was described in narration as being ‘a reply, a call to those who heard, like a dog’s bark understood across fences’. Set on the Heights Promenade in The Fortress of Solitude, a sentence from that chapter still lingers with me years after having read it: ‘Under oblivious eyes, the invisible autographed the world.’ It was through this monumental saga by Jonathan Lethem that I first began to understand street art and the multifaceted history that has brought it off streets and into galleries today. In a plot spanning generations in Brooklyn’s Gowanus projects between the 1970s and 90s, the Solitude‘s story was one painted by graffiti as representation of cultural identity, musical heritage and gentrification. Tags representing names were the artists’ signatures sprayed on the sides of  buildings and trains, to be displayed to the world en route to the next destination. A fine line running through the graffiti underground defined the segmented yet not entirely separate areas of self-expression, vandalism, and street culture that were so richly diversified by an impoverished creative youth and their livelihoods often stereotyped by gangs and crime. Yet since its very inception, the cryptic messages alluding to the characters bearing credit for colourful blurbs and stencilled imagery were just as much a mark of their own brands as it was their ideas.

The cover of the Faber edition of the Solitude pays homage to the tags within: ‘DOSE’ etched in black, sprawling in its myriad ways. Anyone from Gowanus would have known that it was the work of Mingus Rude. And Dylan Ebdus’ as well, although he himself had no ‘name’ of his own, and therein lay the metaphor of his personal conflict. Since before the time of Christ, the etches and inscriptions on surfaces (‘to scratch’ in Italian’s graffiare) served as signage to communicate messages for public consumption (initially believed to be that of prostitution). It’s interesting to think that even the current revival of graffiti in the Middle East, for example, can be drawn back to examples of proto-Arabic Safaitic in the Arabian peninsula region in prehistoric times. But ‘modern’ graffiti as we understand it today began to take its overt shape in the late 60s on the streets of cities such as London (‘Clapton is God‘), Philadelphia and New York. Implemented by music-lovers, activist ideologues and groups protective of their urban territories, New York City came to the fore as a graffiti centre in the 1970s, where the use of tags as ‘bombs’ was introduced onto the subway network, and the mirroring of a growing hip-hop music scene in both competitive quality and source of inspiration was undeniable. It’s this street sub-culture with its off-shoot terminology and music that’s conjured the names of Lethem’s characters (Bob Dylan and Charles Mingus) and the likes of Bomb the System.

Written by Adam Bhala Lougha, the award-nominated film features a group of New York graffiti artists and coincidentally enough, a fantastic score composed by alternative hip-hop artist El-P. But it took until halfway through the 1980s for street art to go indoors and formally enter the art world. The very foundation of the United Graffiti Artists in 1972 served the eventual purpose of drawing artists into a gallery environment that would spotlight their work with a respect often lacking in its habitual haunts of the urban built environment. Neo-expressionist painter Jean-Michel Basquiat was the graffiti artist formerly known as ‘SAMO’ (Same Old Shit) whose work bore the ‘wildstyle’ combo of hip-hop and spray-paint. Graffiti artist John Fekner was said to have demonstrated the plight of New York’s deteriorating standards in urban living through ‘art interventions’ portraying many concerns towards the social and political welfare of the city’s inhabitants throughout the 80s. Fekner is well-known for these word installations underpinned by contemporary urban issues and stencilled on buildings throughout New York. And consequently, as city officials moved to drive forward ‘clean-up’ campaigns to rid the streets of what they viewed to be vandalism, graffiti became more commonplace in galleries overground.

It is this move that helped to continue the ‘culture jam’ of political and socio-economic subversion dominating as artists’ themes. While a debate raged on as to whether or not graffiti was ‘art’ in the first place, Basquiat and others like him exhibited in their own studios. A show at the Brooklyn Museum in 2006 has since paid tribute to such graffiti legends, and designer Marc Ecko has long been an advocate of graffiti as art. Increasingly popular in the commercial mainstream over the years, advertising has picked up on graffiti in tactical account planning to push product hype: IBM launched a campaign in 2001 which saw the spraying of sidewalks in San Francisco with tags such as ‘Peace, Love and Linux’. Last year, Youdoodoll founder Sarah Lu launched a ‘paint-off’ in association with Pepe Jeans, stencilling some colour onto Portobello Road’s façade. And of course who can forget Obey Giant’s Shepard Fairey (headline photo) and his iconic posters for Barack Obama? Widening acclaim for his cross-hatched propaganda and street art has landed him at the Irvine Contemporary with Regime Change Starts at Home, and Manifest Hope over at the DC Gallery. Fairey has also collaborated with Syd Garon and Paul Griswold on N.A.S.A.’s debut promo for the track ‘Money’ — once more seeing the meld of hip-hop, street art and bold political statement.

The current exhibition of subversion artist Brad Downey over at StolenSpace‘s Dray Walk Gallery in East London is another fine example of street art being contained within the confines of a gallery setting. Titled An Honest Thief and running until 8th February as his first solo show in the capitol, Downey presents visual challenges to urban archetypes through the mangling of street signs and riddling of traffic markers (photo above). His concoctions of ‘found art’ in the urban spaces of Atlanta, New York, London and Berlin are founded upon his being a member of a family within which his upbringing inextricably bound him to the US Marine Corps’ itinerant lifestyle. As such, Downey’s understanding of varied systems of regulation endemic to geopolitical landscapes is one of the reasons why he is so fine-tuned in producing provocative displays of de-regulation in the public setting. Currently a lecturer on ‘unsanctioned public artwork’ (himself a graduate of the Slade School and Pratt Institute), his understanding of urban art within a framework of social context is translated into his assembled pieces. By removing the facets of mundane objects succumbed to the status quo, he re-interprets them only to then put them back in — infusing re-instalment with a new-found sense of meaning still relevant to their initial metropolitan situations set out by political city officials and ‘official’ urban planners.

Another exhibit I’ve visited (although almost exactly a year ago to date) was an Urban Angel retrospective in East London. The primary grassroots urban art dealer comprised of a small group of private collectors and affiliated artists diversified in the creative styles of stencilling, urban sculpture and contemporary street art is set firmly amongst my favourite of creative London rosters today. With the work of street artist PURE EVIL‘s Charley Edwards and his vampire bunnies featuring last year with pieces such as the pink-sprayed ‘FUCK ART LETS DANCE’ and infamous ‘LIVE EAST DIE YOUNG’, the space presented many more examples of graffiti artistry. Edwards, influenced by San Francisco’s skateboard culture and graffiti artist Twist, launched a spray-campaign in London to examine what he states as being the question of the ‘big picture’: ‘What does evil look like?’ The  positive reception it received is certainly far from surprising: February 2008 saw the industry puritan Bonhams‘ first auction dedicated to urban art, further anchoring the style in commercial mainstream. Having newly opened its permanent Art Lounge space on Redchurch Street this past December, the show titled XXI is previewing tomorrow by invitation and will run throughout the month with original features from artists such as Copyright, Derek Albeck, Dotmasters, Inkie, Know Hope and Zeus (of the distressed Chanel graffiti given mention here a while back).

And bidding us return back to New York is yet another specimen of London graffiti via the world-trekking Banksy. Obviously not needing any more formal introduction, Banksy exhibitions taking place since 2000 and his recent selling of works at auctions for unprecedented sums in the urban art world is news buzzing regularly through today’s media circuit. He is, of course, one of the most recognizable icons in the graffiti street art movement; and with a reputation that precedes him, he’s acquired fame despite his adamantly maintaining pseudonymity. In October last year, Banksy’s comical ‘Village Petstore and Charcoal Grill‘ sprang up in New York’s West Village (see video below), taking his incredibly intelligent style of satire to even higher levels. The tongue-in-cheek guerilla installation, as filmed by the talented filmmaker Seth Brau, pokes fun at everything from consumer culture and fast-food, to surveillance society and its own self-deprecation. The animatronics involved so greatly departs from anything else seen on street art’s urban horizon that it nearly inadvertently demonstrates the great diversity and potential in street art as an artform in its having done so.

And so it is in the midst of all such irony that it appears the artworld’s institutionalized industry of traditional, ‘un-street’ setting most famously adorns the greatest visual impacts of artists whose autographs are no longer invisible — and whose audience is not so oblivious after all… Filmed and edited by Seth Brau. Music title ‘Barefootin” by Daniel Holter and Kyle White of the Burst Collective. Courtesy of Burst Labs and Extreme Music (Sony/ATV).

Sarah Badr © MMIX

See also: Street value (pieces at random)

Warhol v Banksy (pieces at random)

My playground (pieces at random)

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RIP tDR

1 February, 2009

1986 – 2009

Traipsing between those fine lines of celebration and remorse, it’s difficult to know just how to begin when writing an obituary. Sentiments of grief are best kept at a minimum should you not wish to upset anyone, whilst vacuous praise may have a rather opposite effect. But how does one go about writing the necessary retrospective when the deceased is not a person at all but an enterprise, a conceptual entity shaping the era in which it was up and running? Short of having lived on another planet for the past six months, news of the global recession having taken its toll on major business leaders and small players alike is nothing new. However, one closing its doors in particular has brought on the sort of sentiment felt when a good friend moves away. In fact, this very piece has been sitting in my draft box for the past three years, left to ferment as a blank page at large reserved for the studio that inspired my career choice and passion for a field that — let’s face it — hasn’t always been as experimental as it is today. Admittedly I was so enamoured, so enthralled by what I saw to be (and indeed was) at the very pinnacle of graphic design enterprise at the time that I’ve been too wrapped up in navigating my way through the realm which it has created for itself and for the many clients whose successes were partly hinged on the humourous, constructivist visual impact it provided them across boundaries.

But never did I expect to be writing on such a sad occasion of finality. And it is thus after twenty-three long and successful years, The Designers Republic has bid its farewell. In founding the studio in Sheffield all those years ago in order to provide graphic support for the flourishing ‘SoYo‘ music scene and the band Person to Person, creative director Ian Anderson managed to create a dynamic home-grown alternative to the overrated London design scene. The byline to be ‘Made in the Designers Republic, North of Nowhere’ soon became a desired branding of its own, though ironically tDR’s roots were based on a vision less ‘branded’ and rather more frank about big-city commercial culture and the insatiable consumer demand that went along with it. But it is precisely this paradox that has dominated throughout its lines of work in recent years whilst setting itself apart from the rest, catering to big-name clients such as Nokia, Nike, Saatchi & Saatchi, Orange, and commerce’s favourite target of criticism: Coca Cola. Today, the quintessential tDR style noted to have been inspired by Moscow’s VKhUTEMAS school of the 1920s is perhaps one of the most recognizable of UK studios abound: bright colours, abstract shapes, in-your-face images and modern disjointed typeface in English, Japanese and binary code that screams out whether it be in print, screen, a national flag or a European Space Agency logo.

All of these elements played into the tongue-in-cheek aesthetic that shaped much of its famed output. But to be honest, it’s wasn’t the corporate shelf of Anderson & Co.’s portfolio that first caught my attention. Referring back to its initial connections to the Sheffield music scene, I actually discovered tDR through the work it had done for electronic labels such as Warp Records and the now defunct Em:t Recordings — and for groups such as Moloko and the similarly defunct Funkstörung (see video below). Who can forget Richard D. James leering in a bikini on the cover for the Windowlicker EP, or the vintage sci-fi number for Mat Jarvis’ Gas 0095? The Nine Inch Nails lithograph concert poster series fatigued and true to the band’s industrial heritage proved a further irresistible pairing between the studio and music, as well as the more recent steel-clad limited edition of Quaristice following a long line of covers for Autechre with the hypnotic accents of tDR’s ‘Customized Terror’. I had drawn a comparison some time ago between Anderson and both Warhol and Hirst, and it was vis-à-vis the inextricable links to music that their tremendous impacts paralleled on the cusp of visual representation viewed by an audience of listeners who enjoyed such imagery built on the sounds that lured them into collecting merchandised memorabilia via concert venues and niche online retailers.

And this impact has certainly not gone without ample recognition: In 2001, Q magazine chose the 1987 cover of Age of Chance‘s Don’t Get Mad… Get Even! as one of the ‘100 Best Record Covers of All Time’. Meanwhile, a sold-out 1994 Emigre issue revolving around the Republic was auctioned off for more than $750. Even more recently, tDR was featured amongst the roster of twenty-four artists in the Maxalot projections at the Hague for the TodaysArt Festival in 2006,  with a statement of simply ‘Wait Here. Help Is On The Way.’ spanning across the City Hall building in a fashion that went beyond correct kerning demonstration: it was another example of the ethos that brought about the wordplay visuals of ‘Thinking and Doing’, ‘Design or Die’ and ‘Work Buy Consume Die’ en route to the ‘This is the Emperor’s New Clothes’ theory. Incidentally, TodaysArt also brought the work of tDR alongside that of Universal Everything, another Sheffield-based studio whose director Matt Pyke served at tDR as a senior designer for eight years. Which brings me back to the point of the studio being in Sheffield: the playful anti-capitalist ethos so evident in Anderson’s work stems from his world-view (and love of good music) that led him there in the first place. ‘Sheffield doesn’t have places like Hoxton Square,’ he told the Creative Review in August 2001. ‘And I think, Good, that’s why we’re here. I’d rather slit my throat than have to work with people like that.’

‘The majority of clients haven’t the faintest idea what they’re getting into when they work with us, and a lot of them just haven’t got the balls to see it through. It’s really disappointing to realise that so many people involved in commissioning creativity haven’t got the faintest idea what creativity is.’ Amen. Finally somebody said it, and I couldn’t agree more. The fact that Anderson doesn’t ‘really give a shit about what anybody else does, or about being in anyone else’s band’ is why the legacy of The Designers Republic is worth more attention than much of the rest out there (though it does seem they buckled under commercial pressure throughout the last three years). But their ingenuity and individuality has always counted so positively in terms of a socio-anthropological relevance throughout a broad spectrum of visual communication. Now, not having had a chance to purchase any of the limited edition prints from the tDR online ‘disinformation’ merchandise flagship lovingly tagged as ‘The Peoples Bureau For Consumer Information‘ (the neon night-scene Tokyo print and catchy T-shirts were amongst some of my favourites), I’m glad to know that Anderson has indicated that eventually tDR ‘will rise again’. In the meantime, a copy of the LovebytesVolatile Media DVD, several albums, and various videos will serve just as well amongst the prized memorabilia to reminisce in anticipation for the second coming of the Republic.

Sarah Badr © MMIX

‘Grammy Winners’ directed and produced by The Designers Republic
Funkstörung, Appetite for Disctruction (!K7 Records, 2000)

See also: V&A Forever (pieces at random)

Ambient space (pieces at random)

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To wake up…

29 January, 2009

It began with a single idea: ‘Go to a place. Ask fifty people the same question. Film their responses.’ And what a tremendous response it has been so far. This intimate series from the Crush + Lovely creative studio based between New York and San Francisco provides unique insight into the personal desires of strangers when spontaneously asked various questions — the most recent being where they would like be when they next wake up. Revealing an interesting juxtaposition between those who would like to stay where they are and others who yearn to be elsewhere, the impromptu approach of filming the individuals featured at random was inspired by the project’s first undertaking in New Orleans by the Deltree start-up led by creative entrepreneur and director Benjamin Reece. Narrowing in on the question of what one wished would happen by the end of the day, the original take of the Fifty People, One Question concept has since led the team of soon-to-be former Boom Design Group creatives to the streets of New York, Brooklyn, and most recently London. All beautifully shot with suitable chosen soundtracks to match (Four Tet, Louis Armstrong, Au Revoir Simone, Do Make Say Think), the Deltree slogan of ‘To Move You’ couldn’t have been more fitting.

Having just been informed that the Crush + Lovely team have struck a deal with Deltree to continue production and distribution of this dynamic film series, it looks like the third question in line is set to be ‘What one thing would complete you?’ — though the upcoming city destinations have yet to be disclosed. Featured above is the Brooklyn edition, and the remainder of the videos can be viewed at Crush + Lovely’s page on Vimeo. Great snapshots of people encountered on both the London and Brooklyn shoots are also available on Flickr via photographer and executive producer Nathan Heleine. Directed by Kenneth Chu, filmed by Benjamin Reece, produced by Nathan Heleine, with sound by Tung Bach Ly.

Sarah Badr © MMIX

See also: Deltree Blog

Boom Design Group