SOME/THINGS MAGAZINE is a Paris-based curated project in the form of a luxury book, employing the finest recycled paper stock, the highest quality printing techniques, and environmentally responsible production methods.

First published in 2009, each issue has a distinct conceptual theme and provides extensive insight into the inspiration of its featured contributors. Instead of conventional advertising, SOME/THINGS produces commissioned editorial content, which makes no distinction from the exclusive artist features.

Favouring long-term relationships and ongoing projects, the editorial team is granted an unprecedented entrance into the world of the featured personalities and brands, working with some of the most renowned and visionary figures in the fields of art, design, architecture, cinema, music, fashion, cuisine,  science, and technology.

Past contributors include: Béla Tarr, Bill Henson, Cai Guo-Qiang, Charlotte Rampling, Claude Parent, Dries Van Noten, Etienne Russo [Villa Eugénie], Ferran Adrià [El Bulli], Gareth Pugh, Genevieve Bell [Intel], Jarvis Cocker, Jean-Paul Goude, Jenny Holzer, Marek Reichman [Aston Martin], Michael Nyman, Mona Hatoum, Neville Wakefield, Nick Knight, Olivier Theyskens, Paolo Roversi, Peter Lindbergh, Rachel Whiteread, Radiohead, Ricardo Bofill, Rick Owens, Roger Ballen, Steve McCurry, Steve McQueen, Syd Mead, Tacita Dean, Theo Angelopoulos, Wong Kar-Wai, Yohji Yamamoto, & Zhang Huan.



Anti.Mnemosyne Martin Kozlowski

Berlin Aug 31 - November 15, 2012

Anti.Mnemosyne [curated by Clemens Finkelstein] is the first solo exhibition by young Swedish-born artist Martin Kozlowski in Berlin, Germany. The show consists of large paper works that Kozlowski uses to build up and excavate the hidden, invisible structures of musings, influences, love, relationships and all of its dramatics.

Anti.Mnemosyne is the first solo exhibition by young Swedish-born artist Martin Kozlowski in Berlin.  The show consists of large paper works that Kozlowski uses to build up and excavate the hidden, invisible structures of musings, influences, love, relationships and all of its dramatics.

The exhibition title is derived from the titaness Mnemosyne [Greek: ‘memory’], who is mother to the nine muses and a prominent figure in ancient Greek mythology. Her name is used in the exhibition conjunctively with the prefix ‘anti’ to take up the myth of the two rivers Lethe and Mnemosyne as nodal point of connection to Kozlowski’s latest work on remembrance and the uncovering of traces of memory and inspiration. As similarly described in Plato’s Republic, Lethe is the river in Hades from which dead souls drank so they would erase their memories before reincarnation whereas its counterpart Mnemosyne  – as liquid memory – was used ceremonially to achieve the exact opposite.

Concentrating on fresh pieces that are the manifestation of a recent change in trajectory for the artist, Anti.Mnemosyne tries to mediate Kozlowski’s experiences via revealing and re-substantiating what usually remains invisible to the ordinary bystander, concentrating on the emotional ties to loved ones, places, or the mnemonic musings that are derived from them, yet without reverting to lamentation, the artist carries out his approach with just a quantum of recognition and tribute to the elements that formed him as an individual.

Kozlowski’s more abstract and minimal explorations can be classified as a deeply introspective yet outwardly accessible view into the workings, connections and nodal concentrations of human interaction on a deeply emotional and personal, yet also on an incredibly inspiring level.

This particular alchemy of excavating the buried strands of memory through an abstract and minimal approach to patterns and structures of painting and drawing is what makes Kozlowski so interesting, allowing his audience to approach the viewing and interpretation of the works in relation to their own experiences.

The strands of paint that reverberate against each other demonstrate the flow of memory that becomes apparent through the crystallization of such connections. Kozlowski’s bridge between painting and calligraphy [writing graffiti] brings to mind Lou Zhenggang and her opinion that ‘calligraphy reveals one’s true self, and painting uncovers the aspirations spoken from their heart.’

His at first glance seemingly random placement of paint and lines morphs into complex systems of labyrinthine proportions that thematize an allegory of the mind, picking up on what Freud insists, ‘a trace of each inscription [that] remains in the surface below.’ The displaced elements of negative space gather into structural riddles and subgroups of the greater puzzle, the depth of Kozlowski’s works, which is subjected to a process of transformation that does not remain entirely at the hands of the artist; his structures that through the placement of wet acrylic form the paper surface that reacts to the inscribed material. The two-dimensional flat picture plane of the paper is not elevated by illusionistic properties but by the process and time it takes the paint to dry, transposing the lines and structures into a more bodily physicality, part of the pictorial story as told by Kozlowski. The journey that one undertakes when passing along the diverse works becomes a journey through the convolutions of Kozlowski’s memory, his desires, persons, places that left an imprint that is being excavated and made visible for the audience by unfolding and casting them on paper. They all become metonymic in a rare recognition of the endless proliferations of connections and remembrances in re-tracing what only remains in its residue, trying to preserve and enhance them through visualization.

As counterparts in the tradition of Lethe and Mnemosyne, Kozlowski’s Anti.Mnemosyne reveals itself as the place of modern memory sites, those metamorphoses of one place after another, from transparencies to opacities of emotional and inspirational fluids that act as an extension for the memories that otherwise decay fragmented as mnemonic ruins, the fragments "from which we try to reconstruct the lost totality." [1]


[1] .Stephen Owen, Remembrances: The Experience of the Past in Classical Chinese Literature (Cambridge, MA: Harvard University Press, 1986), 2.




a festival conceived by Martin Kozlowski and Louise Bonde-Hansen

  • jury
  • curation


Simon Skuteli (SE) Sarah Beddington (UK) Sulaiman Majali (UK/JOR) Hedvig Berglind (UK) Mark Dean (UK) Markus Bowie and Alina Chaiderov (SE) Krista Caballero (US) Georgina Starr (UK) Leah Clements (UK) Lilibeth Cuenca Rasmussen (DK) Jacobus Capone (AUS) Lily Jen (US) Andreas Knag-Danielsen (NO) Cilla Leitao (DK) Judith Dean (UK) Nilas Dumstrei (DK) Melancholy Maaret (USA/FIN) Lode Kuylenstierna (SE) Sonja Lillebæk Christensen (DK) Rasmus Myrup & Christine Bjerke (DK) Endam Nihan (USA) Louise Bonde-Hansen (UK) Jaakko Pallasvuo (FIN) Janette Parris (UK) Sara Marie Sandfær (DK/AU) Michael Angelo (GER/SE) Badfood (UK) Niels Pugholm (DK) Magnus Ayers (UK) Kasper Skovsbøl (DK) Jemima Stehli (UK) Kristof Trakal (GER) Fabian Wigren (SE).

13 is a ‘post-Platonic’ screening stage for established artists and BA / MA art students from Europe – USA – Asia. We are happy to be helping out and being part of this amazing new format that has been brought to life by SV’s own Martin Kozlowski (Goldsmiths, London UK), Louise Katrine Bonde-Hansen (Goldsmiths, London UK) and Sara Marie Sandfær (Akademie der bildenden Künste Wien, Vienna AT).


“Watch me before I evaporate” …lunar-like floats the white rectangle before the gazing eyes of the cinephiles. Flickering images change at times quickly, at other times are kept more constant in long shots that seem like stills of a green and ghostly forest – the only thing that seems to happen are doomy sounds of deep and high chiming church bells (‘Foreign Fado’ by Jacobus Capone (AUS)). This is just one of the myriad of video works that was screened and that has found its beautiful presentation in an old cinema in Central Stockholm. Once a voluptuous retreat of film screenings, the building situated in Stockholm’s Södermalm has now been turned into a church, and for the period of the festival, into a cinema again. A cross here and there, imagery of saints and benches that remind one of church-like penance have been mixed with soft and comfortable couches, giving the audience the opportunity to immerse themselves, delve deep into the video art works and stay alert to absorb the works throughout the six hour long programme, screened twice a day with intermittent breaks to fill up on the fresh popcorn served at the entrance to the cinema hall.

A play of chiaroscuro was met by technicolor wet dreams, the projection surface surrounded by metres and metres of black fabric, throwing long delicate folds that through their deepness did accentuate the flat glowing surface that was installed as central ‘altar’ of 13 Video Art Festival.

A broad selection of video art works, ranging from well known artists like the YBA’s own Georgina Starr (UK) or Lilibeth Cuenca Rasmussen (DK), whose ‘Afghan Hound’

performance was previously shown at the 2011 Venice Biennale, met upcoming, young and inspiring artists such as Sulaiman Majali (UK/JOR), Melancholy Maaret (USA/FIN), Jemima Stehli (UK), Jaakko Pallasvuo (FIN), Endam Nihan (USA), Leah Clements (UK) and Michael Angelo (DE/SE), to name just a few of the outstandingly good festival contributions. Artistic research projects were intermingled with semi-documentary fiction-tales of wannabe artists or artistic salvation. They met more experimental, colourful assemblages of hypnotic imagery and religious icons like in BADFOOD’s (UK) ‘Buddha’ or the cinematically beautiful, touchingly honest and forward thinking contribution by Danish Kasper Skovsbøl, whose Jeg tog i byen became one of my favourites of the festival at the speed of light: A Danish women’s choir performing a beautiful musical piece fit for the church surrounding it was shot in, yet portraying with their angelic voices not a hymn on god, but a hymn on HIV and the repercussions, public perceptions, which unraveled in an autobiographical confession, or so it would appear, in an explicit description of a casual sexual meeting between to strangers – all the while leaving the audience in the dark about the possible sex of the autobiographic subject, increasing tension about the transference between a possibly male protagonist unto the numerous women that made up the choir.

With a strong focus on Scandinavian art and artists, contributors’ origins were as diverse as Asia, the Middle East, UK, USA, Oceania and Central Europe.


SV x sideToside

Berlin Art Week 2013

Silent Veil (CoDirectors Clemens Finkelstein + Anne Levy) curated a transmedia intervention for the Berlin Art Week, forcing text and image into conversation.


VISUAL Maria Windschüttel (GER/FIN) . Almut Hilf (GER) . Neoncolour / Sebastian Donath (GER) . Wiebke Herrmann (GER) . Synchrodogs (UA) . Shai Levy (IL/GER) . Martin Kozlowski & PepprJack (SE/UK) . BADFOOD (UK/ESP) . Elias Awada (LB/SE) . Mark William Lewis (UK) . Edith Heidman (AU) . Valerie von Kittlitz & Anaïs Leroux (GER/UK/FR) . Anton Peitersen (DK/GER)


TEXTUAL Anne Levy (GER) . Alexandra Keiner (RO/GER) . Clemens Finkelstein (GER) . Jenni Schmitt (GER) . Benjamin Lauterbach (GER) . Nein. [@NeinQuarterly / Eric Jarosinski] (USA/GER) . Oliver Reinke (GER) . Christine Wölfle (GER) . Iona Goulder (UK) . Signe Kassow (DK/UK) . Roland Antony Fischer-Vousden (UK)



SV : ∑Sigma

Sigma is the speed with which stars are moving at the outer edge of the universe.

SV : ∑Sigma is Silent Veil’s poetry branch, launched as a formable matter for breathing in the new shadowy glow of contemporary reflections on romanticism, urbanism and the frictions created between analog and digital space. In response to SVs well established ManifestoMondays, SV : ∑Sigma’s first poetry contribution by new SV family member Roland Antony Fischer- Vousden portrays a piece that has been created in direct relation to two of SVs manifesto entries. Entranced/Enchanted by the lines that will follow,we are pleased to present our first: SV : ∑Sigma…