the contributing magazine

2

(full view recommended, since Tumblr eats a lot of the details!)

A few months ago I got the opportunity to contribute to a @dragonagezines magazine about History and Legends. Today I got permission to post my piece.

I chose to work with the history of the Qunari and the Qunari Wars. While I had a lot of fun drawing this, I also cursed it from time to time, especially while doing the colouring. OTL

But it worked out in the end, hope you like, and if you do, don’t forget to pick up your copy of the DAZINE!

10

PORNOPOLIS est un manifeste pour une métropole érotique.

Ce Projet de Fin d’Études s’inscrit dans la continuité du travail de Mémoire effectué en amont et traitant des apports du magazine Playboy en termes d’architecture et de design sexuel et genré dans les années 1950 à 1970 aux États-Unis. 

En abordant les thèmes de la sur médiatisation des images sexuelles dans nos médias contemporains ainsi que de l’omniprésence des prothèses numériques dans notre intimité, le projet propose une certaine quantité d’utopies sexuelles, des pornotopies, dans des espaces cachés de l’architecture publique chinoise. En tant que métropole mondiale, Shanghai est un terrain de jeu idéal pour une telle expérimentation sociale et spatiale profitant d’une quantité impressionnante d’influences diverses, du capitalisme effréné occidental au rapport introverti et caché dans l’intimité chinoise. Le centre commercial Bailian New Era situé dans le district de Wujiaochang a été choisi comme principal laboratoire d’expérimentation de ces théories en raison de son importante double peau existante. Invisible de la rue tout comme de l’intérieur du mall et abritant quelques programmes résiduels, elle est au centre d’un puissant imaginaire lié à l’invisible, au caché, à l’interdit. Cette double peau et l’imaginaire qui lui est associée sont utilisés pour y développer une série de pornotopies touchant une mutlitude d’aspects du sexe et du plaisir humain de manière plus générale : sex shop, strip club, spa et bains, restaurant gastronomique, cabaret burlesque, peep shows, clubs gay et LGBT, club échangiste, boutique de lingerie fine, librairie et cinéma érotique… 

En accord avec la culture chinoise, PORNOPOLIS suggère plus qu’il ne montre, dévoile, effeuille un équipement banal du consumérisme de masse. Seuls les initiés sont avertis des profondeurs schizophréniques et sulfureuses de la double peau dans laquelle ils sont happés par des procédés de miroirs coulissants, de parois molles et organiques, de fausses portes, de cabines à double fond, de rideaux, de murs labyrinthiques…
Ce dispositif pornotopique s’enroule autour du volume parallélépipédique du mall en un labyrinthe géant. Au-delà de son aspect provocateur et décadent, PORNOPOLIS s’applique à aborder des thématiques et des champs de l’architecture peu théorisés, à vocation philosophique et sociologique.

Alors pourquoi mettre en relation sexe, genres, urbanisme et architecture ?
Cette question n’est pourtant pas le propre de nos sociétés contemporaines puisqu’elle a déjà été abordée notamment dans Le Pornographe ou La Prostitution réformée (1769) de Restif de La Bretonne, dans lequel il imaginait réformer la prostitution à Paris en créant des maisons closes autogérées en dehors des enceintes de la ville afin de protéger la population de la propagation de la syphilis. La place de l’érotisme en métropole est une vraie question lorsque l’on observe aujourd’hui un renvoi des pratiques du sexe en dehors de ses murs ou dans les quartiers les plus marginalisés en raison de l’embourgeoisement des centres-ville, alors même que les panneaux publicitaires affichent des images au contenu explicitement sexuel. Comment, dans ce contexte, explorer la piste d’un érotisme urbain qui tendrait à rendre la ville moins hypocrite dans son rapport au corps et au genre ? A ce sujet, on constate une forme évidente de domination masculine sur la rue - liée aux modèles patriarcaux des sociétés occidentales hérités des années 1950 (date qui correspond entre autres à l’essor du modèle capitaliste au niveau mondial) -, qui fait ainsi de l’espace urbain un domaine genré et source de conflits liés aux pulsions.


PORNOPOLIS tend à réconcilier villes et sexualités en proposant des pornotopies libidinales génératrices de plaisir urbain. Il ne s’agit toutefois pas d’un projet de solutions mais bien d’interrogations ouvertes, dont les principales pourraient être « Que faire du sexe en ville ? » et « Est-il juste d’en architecturer les plaisirs ? ».


________________________________________________________________



PORNOPOLIS is a manifesto aiming to bring an erotic dimension to our cities and our connection with them.

Its  main purpose is to urbanize the industry - and in a larger scale, the practice - of sex in order to decomplex hidden spaces in chinese architecture and turn them into an alternative and erotic metropolis. This Graduation Master Project is closely linked to my Graduation Master Thesis done earlier on my last year in architecture school. This thesis deals with the contributions of the Playboy magazine in terms of sexual and gendered design and architecture during the 50’s and the 70’s in the USA. By treating themes like media coverage on sexual imagery in our contemporary media and the ubiquity of digital prosthesis in our intimacy, this project presents several sexual utopias (pornotopias) taking place in hidden spaces of chinese architecture.


Shanghai is an ideal playground for this urban and social experimentation as it is one of the biggest metropolis in the world undergoing several influences, from occidental capitalist standards to traditional uses in their intimacy. The Bailian New Era mall in Wujiaochang district has been especially chosen as the principal laboratory of an alternative and erotic Shanghai due to its hidden second skin. Invisible from the street as well as from the inside of the mall, we develop several types of pornotopias touching every aspect of sex, from soft to hard : sex shops, spas and saunas, a love hotel, a burlesque cabaret, gay and LGBT night clubs, swingers clubs, a gastronomic restaurant, an erotic library, a brothel… According to chinese culture, PORNOPOLIS suggests more than it shows and only insiders are advised of the schizophrenic depths of the mall. Entering the pornotopic spaces through different processes (moving mirrors, soft and organic walls, rabbit holes leading to wonderland…), pornotopias’ architecture is thought as a giant maze twisted around the principal parallelepipedic volume of Wujiaochang’s Bailian New Era.

The imaginary of this invisible second skin and all the fantasies related to that particular space are used to question our relation to sex in an urban context. Which place are we giving to sex related activities in our cities when we today assist at the criminalization of the prostitution or the removal of places dedicated to sex (sex shops, brothels…) from our city centers to the suburbs, far from our eyes ?
Beyond its provocative an decadent aspect, PORNOPOLIS deals with contemporary thematics within the fields of architecture, philosophy and sociology which are generally less theorized.
So why relating sex, genders, urbanism and architecture ?
This question is not only related to our contemporary societies but has, on the contrary, been already theorized. The place that eroticism takes in our metropolises is a real question when sex shops and sex workers are removed from the gentrified city centers whereas ads with sexual content are spreading in the streets.
In this context, how can we explore the possibility of an erotic urbanism which will transform our cities to less hypocrite organisms when it comes to body and gender ?

PORNOPOLIS is not a project for solutions. It is on the contrary a project of questions, which could be « What to do with urban sex ? » and « Is it relevant to architect pleasure ? »


_____


Clémentine Dufaut

Projet de Fin d’Etudes_septembre 2016_domaine Architecture, Ville & Territoire_directrice d’études : Anne Jaureguiberry_Ecole Nationale Supérieure d’Architecture de Strasbourg

Writing: such has been my crime ever since I was a small child. To this day writing remains my crime. Now, although I am out of prison, I continue to live inside a prison of another sort, one without steel bars. For the technology of oppression and might without justice has become more advanced, and the fetters imposed on mind and body have become invisible. The most dangerous shackles are the invisible ones, because they deceive people into believing they are free. This delusion is the new prison that people inhabit today, north and south, east and west…We inhabit the age of the technology of false consciousness, the technology of hiding truths behind amiable humanistic slogans that may change from one era to another…Democracy is not just freedom to criticize the government or head of state, or to hold parliamentary elections. True democracy obtains only when the people - women, men, young people, children - have the ability to change the system of industrial capitalism that has oppressed them since the earliest days of slavery: a system based on class division, patriarchy, and military might, a hierarchical system that subjugates people merely because they are born poor, or female, or dark-skinned.
— 

The Calendar Woman for 6th December is Nawal El Saadawi (born 1931)

Nawal El Saadawi is an Egyptian feminist writer, activist, physician, and psychiatrist. Her primary focus is on the subject of women in Islam, including FGM in Egyptian society. Growing up in a relatively progressive family, Nawal was encouraged by her father to pursue education and to speak her mind; however she was still subject to female genital mutilation, which occurred when she was 6. She graduated as a medical doctor from Cairo University and through her medical practice met and witnessed women’s physical and psychological problems, which she connect to oppressive cultural practices including class oppression and patriarchal oppression.

Nawal is the founder and president of the Arab Women’s Solidarity Association and the co-founder of the Arab Association for Human Rights. As a physician, she has founded the Health Education Association and was the Chief Editor of Health Magazine in Egypt.  Her 1972 book Women and Sex became a foundational text of second-wave feminism but cost Nawal her job at the Ministry of Health; she was later imprisoned for contribution to the feminist magazine Confrontation which she helped publish in 1981. Fleeing Egypt following Islamist death threats, she settled in America and has held several positions at prestigious universities. Nawal has been recognised internationally for her work and received many honorary degrees and awards including the Sean MacBride Peace Prize awarded by the International Peace Bureau.

Newsletter June

Dear inkstay members,

This blog has slowly but surely becoming more active over the past few months: There are still new brave writers willing to give the daretowrite challenge a go, the monthly prompts are back and there’s a magazine coming up.

For all the writers: It takes posts tagged with #inkstay about a month to appear on the blog. If it hasn’t appeared after a full month, please let us know and we’ll add your post to the queue. Posts with external links don’t always show up in the tag, especially when it’s a photo post.

For the writers who participate in the daretowrite challenge: The memberspage has gotten a little addition. Check it out and let us know if your name should be under one of those badges as well!

For those wanting to contribute to the magazine: The deadline of 25/06 is coming closer!
Anyone interested in contributing can still contact inkstay.tumblr@gmail.com or read this post.

“Kristina: Media advice in our society is not so good – maybe because earlier in our country we didn’t see expensive things and advertising.

 Nadezhda: It was more equal. 

Larisa: Yes, it was so equal and we aren’t used to it. To my mind a big problem has appeared here, because people, girls, they started to dream about a better life, they want to live like other people, to have a lot of money and cars, and they don’t live their [own] lives. That’s why there is such a feeling that it’s not your life. You are just sitting and watching but you are waiting for something. This is a problem, just not to live every moment but [to] wait for something better. And this something better, it may not appear.

HP: So do you think that magazines contribute to that because they’re pre-senting … do they reflect reality?

Larisa: When you’re dreaming about a better life, you always hope for some interesting events in your [own] life, for some travel, a lot of money. And you try to earn it, and you try to follow the life of … I don’t know who, but not your [own] life!

HP: Do these ideas for you come from the media or do they come from yourself?

Larisa: I guess it’s a stereotype and it’s come from the media, from magazines,from everywhere in our lives.

The aspirational lifestyles normalised in women’s magazines are seen to yield false expectations or a homogeneous view of life. Accordingly, for readers, certain representations of femininity linked to wealthier sectors of Russian society may be negatively perceived, rather than aspirational. “

From Barbie to the oligarch’s wife: Holly Porteous

wiggimus  asked:

So, I dress up quite often, but don't try to look feminine (I have a full beard, rarely wear makeup, etc). However, I've been dressing for years and do so in public a lot. Do you think I have anything to contribute to your magazine?

Heya!

Of course you do! Crossdressing isn’t just about looking feminine, it’s about getting in touch with your feminine side in whatever way you feel comfortable.

I don’t ask that people have to reach a standard of femininity for the magazine, simply that they put effort into the pictures they take for the submissions page.

- Jessica Blaise x x

Bill Everett, October 1968. 

Back before Marvel Comics was its own entity, Marvel was owned by a parent company, Magazine Management Co., who produced a number of magazines alongside their comics output, many of them men’s magazines. 

This non-Code approved spy spoof one-shot comic collected a number of strips featuring the titular feline that previously appeared in various mags, and were drawn by a number of noted good girl artists of the day, including Wally Wood, Bill Ward, Bill Everett, and Jim Mooney, with Stan Lee as a contributing writer.

(Like Mad Magazine, they worked around the restrictive Comics Code by the loophole of format – even though this black and white magazine was comic strips, it wasn’t considered a ‘comic book’.) 

Magazine Management was bought out by Perfect Film & Chemical Corporation in 1968, right around the time Pussycat here got her only solo outing, and Magazine Management would eventually be formally renamed Marvel Comics Group in 1973 … although several magazines like Stag and Male – which started out as 'men’s adventure’ pulps with fiction, girlie cartoons, and only the occasional pin-up in a bikini, eventually became straight-up cover-to-cover nude pictorials with sexually explicit articles – were published under the 'Magazine Management’ banner until the mid-to-late 1970s, when they were finally discontinued. 

Stag had first been published in 1942, not long after Timely debuted Captain America, and had a run of 314 issues until the final one in 1976, long after Spider-Man and the Hulk had become pop culture icons.

And that, kids, is the story of how Disney eventually bought themselves a former porn publisher turned superhero entertainment empire.

4

MOST IMPORTANT UGLY

April 25, 2014 ­ July 25, 2014 American Two Shot
135 Grand street, NYC Opening Reception: April 25th, 6:00­-9:00pm

Hello friends and friendly strangers –

If you know me at all, you know I live and breathe both makeup and memories – the stories that lipstick can tell you and the people who wear them help me wake up in the morning. Call it shallow or call it survival. I’d consider it more the latter and it’s the heart of Most Important Ugly.

What exactly should you expect? In essence,
it’s a series of 13 portraits that negotiate the
sitter’s stories of alienation and presentation,
memories and disremembering. In order to sit
for their photo to be taken, I asked each muse
a series of questions about shame, safety,
power, family and beauty. This series of
questions is called “Therapy Sessions in Sephora,” a reference to the place where I came up with the questions and the place where the ideas for this project began to unfold.

This project discusses anxiety and queer marginalization, revealing the monsters that are hidden inside of us when we are taught what we are is not enough, or is too much, or that it shouldn’t exist at all. It is a presentation of the resistance of marginalized people and how makeup can bring out the best in you: it’s just that the best is not always what is expected, or the most beautiful, or the most kind. Most Important Ugly tells the story of Monster Culture and the everyday heroes that it breeds. The heroes are my friends in the queer community, my readers, our friends. Non­binary beauties, trans friends, queer and questioning people we know and love all came together to sit for this project and it is their stories that we have the honor to share in these photographs. Gertrude Stein once wrote: “Give me new face new faces new faces I have seen the old ones.” This is our response to this idea of a beauty culture where we do not belong.

There are 13 portraits in the installation. There will also be a Limited Edition zine (Edition of 100 copies) detailing our process and monster culture, and it will include the original questions asked of each sitter. That way, you can learn what your Most Important Ugly is, too.

Much love,
Arabelle

Arabelle Sicardi is a fashion and beauty writer & artist with the popular feminist fashion blog, Fashion Pirate. She is on staff at Rookie Magazine, the online teen magazine founded by Tavi Gevinson, and has also contributed to Teen Vogue, Refinery29, Autostraddle, and Lucky. She was most recently profiled in the New York Times for her work in creating communities of Self­Empowerment and in PAPER Magazine online as a personal style blogger the magazine is obsessed with.

Tayler Smith is a photographer with a focus on fine art portraiture, currently attending her second year at The School of Visual Arts. She was named one of the Frist Museum’s “Young Tennessee Artists” of 2012 and has since contributed to Inconnu Magazine, Motive Magazine and Autostraddle. This is her first public exhibition.

For contact information, please email Arabelle at arabelle@fashionpirate.net

PHOTOS SHOWN ABOVE: 
Indigo Nelson, 2014
Melissa Fan, 2013
Tyler Ford, 2013
Hari Nef, 2014