LDC revives the tradition of rigorous satire and critique within the theatre of fashion, photography, and contemporary culture. Le Derrière Cri purposely strays from the classic magazine model of interviews, articles & reviews, instead using the vehicles of the editorial industry to subvert the image-making economy we so take for granted. Written by anonymous insiders, pseudonymous provocateurs, and authors attributed with academic precision, LDC’s contents include true stories, academic musings, works of complete fiction and blurry spaces in between. Visually, LDC draws upon the incestuous beauty of the fashion industry itself, resulting in works that nurture surrealism in its purest form.

For the premiere issue of Le Derrière Cri we examine the underpinnings of fashion through two thematically linked ideas: Repetition as one of fashion’s main devices to create newness, leading to the slippery and hyper-abundant term ‘Chic’.

Ukrainian photography duo SYNCHRODOGS goes derrière-mad with Chic Asses, followed by a series of confessional articles: first an exploration of the magazine’s rather contentious title (L.E.D.E.R.R.I.E.R.E.C.R.I.), next a bemused study of a sycophantic fashion assistant and a tell-all of the perils of being a Fashion Triennale director, as BENI BISCHOF’s defaced fashion ads punctuate and estrange the editorial flow one sausage at a time. MICHAEL ROCK and ELIZABETH ROCK trace IntelliChic, the blockbuster campaign that was never meant to be. Photographer LAUREN LANCASTER capitalizes on a 300% credit to all-star minimalist designer JIL SANDER, followed up by a gruesome wedding story by a well-known stylist featuring the same sartorial centerpiece. Artist ANICKA YI investigates the noosphere of global scent horizons with AARON MCELROY’s lurid floral portraits. QIU YANG undresses a Lynchian centerfold in a 26-page story entitled Chic-At-Large, and larger yet, a notable design director dishes on the peculiar insistences of his rather famous ex-boss. Associate Editor BEVERLY LIANG and fashion theorist CHRISTINA MOON unpack the popularity of Blondness accompanied by BLOMMERS SCHUMM’s blonde hair color portrait series. An anonymous Lawyer / Model muses on her double life of litigation-slave and hobby-model, and ANICKA YI prologues with her ominous and beautiful artwork The Closed Mouth Gathers No Feet. ANJA ARONOWSKY CRONBERG exposes the power structures of ‘chic,’ illustrated by JENNIFER LIVINGSTON’s glossary of fashion poses with ALI MICHAEL and fashion editor HAIDEE FINDLAY-LEVIN. SOL SPREZZATURA collages rants on media culture and privacy with NICHOLAS ALAN COPE’S luscious, architectural and highly phallic lipstick photographs. Not to be upstaged MEINKE KLEIN features “real homosexuals” extravagantly styled in bohomo-chic looks. And we close with a dedication to America’s Charlie Chaplin of photography ALFRED GESCHEIDT, whose work has been a huge inspiration in the creation of this magazine, profiled by documentary filmmaker HARVEY WANG.

Issue 119 includes feature essays by Laura Kenins on “Escapists and Jet-Setters: Residencies and Sustainability”, Stephanie Springgay on “The Pedagogical Impulse: Aberrant Residencies and Classroom Ecologies,” and Randy Lee Cutler on the 55th Venice Biennale, as well as Sky Goodden in conversation with Wanda Koop and an interview by Amish Morrell with Shinobu Akimoto and Matthew Evans. C119 also includes an artist project by the Nomadic Residency Council and the collaborative project “love takes the worry out of being close: public assemblies in bed with queers”; book reviews and reviews of exhibitions by Kara Uzelman, Sara Angelucci, David Askevold, Bernadette Corporation and more.

Distributed in North America by Distributed Art Publishers

Municipal de Fútbol is a collaborative edition about amateur soccer in Los Angeles—the everyday experience of playing in pick-up games, weekend and night park leagues. Jennifer Doyle, a contributor to frieze and author of Sex Objects: Art and the Dialectics of Desire, has contributed two essays to the books, both with Spanish translation. Housed in an embossed green clothbound box with black ribbon pulls, the edition includes two clothbound books (one of which studies the game as it is played throughout Los Angeles, on hijacked baseball fields, back lots and public squares, and the other of which focuses on one field in particular, the ultra-scrappy and always animated Lafayette Park); one poster; artist lithographs by As-Found, Roderick Buchanan, Mari Eastman, General Idea, Jakob Kolding, Jonathan Monk, Arthur Ou, Peter Piller and Michael Wells; and a European National team adidas fútbol jersey with a “Municipal de Fútbol/Los Angeles Recreation and Parks” embroidered patch and a reflective silk-screened number. The edition is designed by Jonathan Maghen and photography is by Michael Wells.

“Fútbol bubbles up from the ground. It rains down on parks and leaks through walls. It rises like an irrepressible tide, and recedes only when everybody has to go earn some money for themselves and their families. Nobody playing here thinks it’s going to make them rich. Or famoso. It is what happens instead of work.” — Jennifer Doyle

THE NEW MODERN HAIR: A STYLING CHART features a series of stylized portraits highlighting male hairstyles juxtaposed with geometric drawings. The book pays homage to the barbershop and is an artistic representation of the subtle nuances and cues that help define the male persona, identity and representation within the parameters of visual and popular culture. Through this series of work, Prada is capturing the typecasting and idealized character building that has become ingrained in our minds through media, pop culture and iconography.

The portraits — with names ranging from The Flat Top to Executive Contour — feature commentary and meticulous instructions on how to obtain each look in order to resemble the lifestyle pictured. The geometric drawings, all whimsical remixes of 20th-century art movements such as Bauhaus, De Stijl and Russian Constructivism, highlight the emphasis on the shape for each hairstyle and command a manifesto for the references that each portrait points to.

Art & Seoul is a biannual, bilingual, arts and culture magazine which highlights the work of artists and designers from Korea through interviews, essays, profiles, and various collaborative projects.

They Magazine is a dialogue between literature and art. Each issue has a unique design and features stories from different authors centered around one unifying thought.

They 3 features short stories from Dallas Clayton, Cian O’Day, Reeves Wiederman, Arna Bontemps Hemenway, Jason Parham and Aaron Lake Smith.

Some words on, and images of, eis (ice).

Adolfo Doring’s Nomenclature is deceptively layered with meaning and contexts absorbent from his work in film. Sublime and poetic, Nomenclature is pictorial prose, a visual soliloquy, an imagistic dialogue of the human figure in a kind of call and response with a plethora of variegated environments including urban space as well as the natural world. Doring’s still photography is analogous to a single frame of a film; where he decides to point his camera, whether indoors or outdoors, is akin to a film’s locale; and the placement of images mapped within Nomenclature is as much a directorial decision as it is of editing.

— Raul Zamudio

“Politics and aesthetics morph seamlessly in a world where politics confuses itself with representation, where all attention is swallowed in the communication of a message rather than in the intensity of an event. … In Meckseper’s gallery installation, where fashion images share space with protest documentation, where an idea of relational space rubs shoulders with an idea of lifestyle or boutique design, where an idea of the social morphs into an idea of the commodity relation, many of the elements on display also double as mechanisms of display: shelves, rugs, windows, magazine covers, and wallpaper are the products here. Here, display displays itself. Covers and wrappings conceal nothing, they only reveal themselves. And, reappropriating the very mechanisms of commodity transmission in this way, and in particular by conflating politicized symbols with such functions … , by relocating non-art in art and vice versa, by this orgiastic displacement, this diabolical Feng Shui of signifying forms and materials, the artist also goes to work (like the peasant in her field, the posing model) in the production of her anti-world.”

—John Kelsey

“Politics and aesthetics morph seamlessly in a world where politics confuses itself with representation, where all attention is swallowed in the communication of a message rather than in the intensity of an event. … In Meckseper’s gallery installation, where fashion images share space with protest documentation, where an idea of relational space rubs shoulders with an idea of lifestyle or boutique design, where an idea of the social morphs into an idea of the commodity relation, many of the elements on display also double as mechanisms of display: shelves, rugs, windows, magazine covers, and wallpaper are the products here. Here, display displays itself. Covers and wrappings conceal nothing, they only reveal themselves. And, reappropriating the very mechanisms of commodity transmission in this way, and in particular by conflating politicized symbols with such functions… , by relocating non-art in art and vice versa, by this orgiastic displacement, this diabolical Feng Shui of signifying forms and materials, the artist also goes to work (like the peasant in her field, the posing model) in the production of her anti-world.”

—John Kelsey