Whitelies Magazine – Issue #012 — Closure 終結

Whitelies is widely recognized as a cultural and visual conversation between the Asia Pacific and what we perceive as “the West”.

Through cutting edge contents and an influential collective within the creative cosmos, Whitelies is building bridges between Berlin and Tokyo, Paris and Seoul, London and Beijing.

The twelfth issue—aptly titled Closure—marks the end of our journey in magazine format. Instead of presenting a conventional best of compilation or promising new beginnings, we have chosen to delve into the theme of Closure with all its nuances. This issue is not merely a farewell to Whitelies in magazine form—it’s an opportunity for us to uphold our commitments and values to the highest standard. It goes beyond being just a goodbye—it is a visual expression of the beauty in Closure—a celebration of parting, and an embrace of states of mourning.

This deeply personal issue concludes twelve chapters dedicated to our longtime collaborators and artists. Lena C. Emery presents us with a story drawn from an excerpt of her forthcoming book “I Undressed to Climb a Tree” (2024). Olivier Kervern immortalizes moments that have passed. Stanislas Motz-Neidhart captures Sahteene Sednaoui in a story rich in symbolism. Stephane Sednaoui—on the other hand—has contributed a personal and tragic series titled “Sombre” (2023). In our ongoing collaboration with CHANEL, we focus on the Fall-Winter 2023/24 Haute Couture collection—a presentation that unfolded with Chanel Artistic Director Virginie Viard’s portrayal of leisurely, Parisian life along the Seine in the height of summer.

Osamu Yokonami engages with the solitude, anonymity and restlessness that characterizes sprawling mega-metropolises. Beyond the frenetic heart of Tokyo, Jun Yasui has created a story inspired by the concept of the Sanzu-no-Kawa. Robert Mapplethorpe’s printer Tom Baril graces this issue with his series “Botanic”. In these images, he celebrates the transient and ephemeral qualities shared by both life and nature. Photographer Mengyu Zhou offers a glimpse into her personal series “The Filial Daughter”, captured earlier this year in her hometown Wenzhou, China, while Belgian artist Katrien de Blauwer appears in Whitelies once again with a suite of her distinctive collages, selected from her larger body of work “Why I Fear Red, Love Blue (and) Hate Yellow” (2022).

Contents
Tom Baril, Lena C. Emery, Katrien de Blauwer, Jun Yasui, Sahteene Sednaoui, Stanislas Motz-Neidhart, Osamu Yokonami, Stephane Sednaoui, Olivier Kervern, Mengyu Zhou, Elaine ML Tam, Stefan Dotter

Characteristics
Envelope: Hand-crafted Swiss paper
Pages: 208
Size: 22 cm x 29 cm
Printed and crafted in Germany
ISSN: 2363-8745

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Language: English