7Post Magazine #5 Art issue

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CULTURE,FAsHIoN&LIFEsTYLE ARTIssUE#1

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5

Founders & ChieF editors
Jean-Baptiste pauchard & prosper Keating
Art direCtor
Jean-Baptiste pauchard
FAshion editor
davina LuBeLsKi
new MediA direCtor
sinisha nisevic
Contributors
peter pauL hartnett, Katarina JeBB, Zach havas,sonia sieff, natasha gorniK,
arno Bani
Contributing editor
MéLanie canard
originAl soundtrACk
dJ agoria
grAphiC designer
MaëLa Boëdec-craMesniL de LaLeu
retouChing
Marine WoehL
AssistAnt to the FAshion direCtor
MathiLde regnauLt
Junior FAshion AssistAnts
aLex KessLer, saBry cheLBi
editoriAl AssistAnt
ondine charLesWorth
originAl soundtrACk
dJ agoria
produCer los Angeles
tatJana naJdanovic
THANKS
caroLine greyL, JaMie Brett/pyMca, instagraM, roBin sanderson, Mesh chhiBBer
distribution CoordinAtor
antoine dorLand
pAris oFFiCe
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los Angeles oFFiCe
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Los angeLes ca 90291 - usa
produCtion
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ips & export press
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Jean-Baptiste pauchard
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5 BLABLABLA
7 CONTENTS
9 TABOO 86
by Peter Paul Hartnett
17 THE LINGUISTIC CROSS DRESSER
by Katarina Jebb
21 MICkEY RAT
by Zach Havas
27 INsTA-ART
by Mélanie Canard
33 ANoTHER FoRgoTTEN TALENT
by Ondine Charlesworth
39 PREVIEW - UN NU
by Sonia Sieff
45 s&M IN goTHAM
by Natasha Gornik
49 EXCLUsIVE - MICHAEL JACksoN UNPUBLIsHED
by Arno Bani
51 CANNEs 2015
by Felix Larher
7
DOWNLOAD iWAY app FOr MOre exCLuSive CONteNt

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byPETERPAULHARTNETT
9

The late Quentin Crisp, who once
described himself as “England’s stateliest homo”, said of Peter Paul Hartnett’s 1997 novel
‘Call Me’ that it was “quite possibly the kinkiest book in all the world”. The still extant
Will Self described Hartnett as “an aggressively gay, extremist writer who deals with child
abuse, prostitution and serial killing”. Hartnett is probably darker than Brett Easton Ellis
but his photographs of people over the past three decades betray the sensitivity behind the
literary savagery.
In this issue, Hartnett shows us some of the ‘Blitz Kids’ and other night birds from Leigh
Bowery’s weekly Taboo nights at the Maximus nightclub in London’s Leicester Square in 1985
and 1986. These Polaroids are very different to the street style reportage he was shooting
in London and Brighton at the same time, some of which you will see in the next issue in
September, together with an article about Hartnett’s ‘punk protest’ against the Vatican’s
failure to crack down seriously on child abuse by its priests. We see Bowery not quite at his
out, amongst other things. Some measure of Bowery’s mood can be gleaned from the left-facing
swastikas he inscribed on the image.
The cover image of this supplement shows Bowery’s associate Marc Vaultier, the Taboo doorman,
who sometimes held a mirror up to people trying to get in, asking them: “Honestly, would you
let yourself in?”. Bowery’s dress code was simple: “Dress as though your life depends on it
or just don’t bother.” For many hopefuls, Vaultier was all they ever got to see of Taboo.
Like Bowery and others from those times, Vaultier died young. But he was very sweet to me
the one time I tried to get in and he subsequently bought me a drink in a Soho pub so it is
an honour to have him on our cover thirty years later.

THe ArtiSt KAtAriNA JeBB
iNtervieWeD BY BeJ ANirAtAK
Bej Aniratak: Can you tell me why you have
titled the interview as such?
Katerina Jebb: I like to make things up.
BJ: I see your images and your world as being
both poetic and brutal. Would you agree?
KJ: How can I possibly see through your
eyes? You never look at me from the place I
see you.
BJ: Are you interested in psychology?
KJ: Yes, I study this kind of thing.
BJ: Why?
KJ: It’s always interesting to read about
human behaviour. To answer your previous
question, about my world being brutal and
of life in all its beauty and decline.
BJ: But you seem to go from light to dark so
easily, effortlessly confusing issues. Your
use of paradox is a recurring theme.
KJ: Isn’t it just the way a typical day passes?
You walk down a street, anywhere, and you
are confronted with pleasure, discomfort,
unattractive objects. There will always be
beauty and the shadow of it.
BJ: I am interested in your seeming
series?
KJ: I like a cold aesthetic and the colour
nude is very appealing to me. When I
impersonators I felt that as a subject it
was very appropriate for me. There was a
factory in San Diego where they were made
and we just went there. I took my assistant
with me, who had just graduated from Oxford,
and we had the time of our lives playing
with those dolls.
BJ: What aspect of it was so thrilling to
you?
KJ: Incredulous disbelief and, I suppose,
the investigative approach. The possibility
of a male actually wanting to interact and
copulate with a simulacra of a female, made
of silicon and steel, all at once confused me
whilst inciting a high level of curiosity.
BJ: Was this a recent project?
KJ: No, 1999.
BJ: The doll in these works, it is a functioning
sex doll, yes?
KJ: Yes. They are usually presented with human
hair, wearing make-up and clothing; they
are shipped as capable-looking imposters. I
chose to show them as fragmented objects.
BJ: Do you think your undertaking of this
was a form of study?
KJ: Of course, this kind of subject is a
social phenomenon, which we need to look at,
removed from the context for which it has
been made.
BJ:
respond to that?
KJ: Well, in the middle of nowhere in
California, it’s like a pool party of
paradoxes.
BJ: And what about the physical nature of
the doll?
KJ: Well it’s not very organic, is it? Placing
your member in a re-enactment of a woman?
Although my assistant did say he was on the
precipice of wanting to... You know. The skin
warms in your hands, which is undeniably the
strangest detail.
BJ: So what did your study reveal?
KJ: I made these very clinical lifesize
images and Danny Moynihan, who was curating
a show called Psycho at the Anne Faggionato
Gallery, came over and put the headless doll
torso in the exhibition, placed next to a
Francis Bacon masterpiece; so my work and
the doll arrived on the scene.
BJ: This was a good moment for you?
KJ: Oh yes, but contrarily so. I wasn’t so
interested in making art, as I wanted to get
married and have children. So I moved back
to California for a while then back to Paris,
so as not to put my dog in quarantine, and
of my children. Fate sealed.
BJ: So what place was making images taking?

THE LINgUIsTIC
CRoss DREssERTHE LINGuISTIC CrOSS
DrESSEr / THE LINGuISTIC
CrOSS DrESSEr / THE
LINGuISTIC CrOSS DrESSEr
/ THE LINGuISTIC CrOSS
CrOSS DrESSEr / THE
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CrOSS DrESSEr / THE
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CrOSS DrESSEr / THE
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CrOSS DrESSEr / THE
LINGuISTIC CrOSS
by kATARINA JEBB
17

kJ: Well, none. Making
humans is far more interesting than anything
you can ever fabricate or dream up. I can
understand women who have thirteen children.
It’s an uncontrollable force.
BJ: Did you enjoy this, then?
KJ: Carrying babies is singularly the most
act. A human being inside another, so
physically potent, the body modifying
itself to accommodate, house another, a
fascinating physicality. And the intimacy is
unsurpassable. There are things not easily
described, bodily sensations, mental states,
I think it’s called ineffability. Childbirth
envelops all of this.
BJ: Your work looks quite precise and
KJ: With myself. I have no formal art
education. I bought art books in The City of
Hope on Fairfax in LA and read. When I lived
in California I was twenty-one. I met a lot
of interesting people who probably made an
impression on me. We would go to parties
at robert Evans’ house and smoke cigarettes
with Timothy Leary. I would always be putting
my friends in the closet naked and dreaming
up something. I discovered that I could make
photomontages inside my camera by just taking
But because I had no formal instruction, I
intuitively found mediums, which suited my
demands.
BJ: Where are these works?
KJ: In a trunk somewhere in Hollywood.
BJ: And did you work in Hollywood?
KJ: Oh no, we were penniless, always. That’s
why we always went to parties to eat.
BJ: Did you get any jobs?
KJ: Not really, my photos were not really
like photos, they didn’t look contemporary.
Everyone said, “Oh your work is too weird
for here, you should live in Paris.”.
BJ: Where did you live in Paris?
KJ:
gentleman who was, I discovered a few days
after being there, a cross-dresser. He would
spend hours transforming himself, the most
supernatural bodily transformation. When
he would let me take photos of him, some of
which are not suitable for publication. The
apartment was the size of a shoebox and it
had a balcony, which was twice the size. We
used to have sleepovers there. Then I met
a girl at a disco who was studying law and
we became friends. She worked with Anatole
Dauman, who was a producer of independent
man who really knew how to live. He had an
empty apartment, Art Nouveau, quite grand,
and he gave it to us to live in, and it
became quite the place.
BJ: What kind of life were you living?
KJ: Experimental. I was taking photos
for ‘Liberation’ as a kind of reportage
photographer.
BJ: Did you have success?
KJ: Well creatively, yes. As the French could
see, I was contributing something. Not long
after living there, I was in a serious car
accident and spent a lot of time in hospital,
and two years in the Art Nouveau bed in the
glossy-walled apartment where friends would
come in through the window. I found out that
living in the same apartment, sleeping in
the same bed.
BJ: Does that have relevance to you?
KJ: Well, yes, I was kind of held captive there
whilst recovering from having my arm smashed
to pieces. I would have two injections of
morphine each day. Physically and mentally
it was brutal, moreover an expansive mind
trip.
BJ: How?
KJ: In this state I was able to visit other
places that most people don’t know exist.
BJ: How so?
KJ: Drugs allow access to closed and secret
parts of your psyche. They allow them to
open and function.
BJ: Can you tell me about the accident?
KJ: I have no recollection of the accident.
On regaining consciousness I had an out of
body experience.
BJ: How can you describe this?
KJ: It’s not unpleasant, a feeling of serenity,
and then I felt a pleasurable warmth and
then, after some time, saw that it was my
own blood leaving. They cut my clothes off
me. Strangely, you are aware that there is
an attractiveness attached to the procedure.
BJ: How?
KJ: Well, the feeling of vulnerability is
like drowning, you feel so vividly your own

everything is blurring in and out of focus,
BJ: A paradoxical sort of feeling?
KJ: Yes
BJ: Ahhaaa. So do you think this event has
KJ: Of course. Everything you see, do, feel,
and are, contributes to or informs your
work. Who was it who said, “All work of an
artist is a portrait of the artist”? We can
only turn the mirror around on ourselves,
the key player in the act of life. My body
changed irreparably at that moment, and in
the adversity I grew stronger and fragile.
BJ: What do you mean, fragile?
KJ: Well, in a good way. I love fragile
impenetrable self-belief.
BJ: Do you think that you are fragile?
KJ: Yes, for a positive outcome. But isn’t
that quality the very essence of being closer
to something bigger?
BJ: Like what?
KJ: Oh, universal truth, liberty,
interconnectedness. All learning and
innovation would come from being open to
receiving.
BJ: receiving what?
KJ: Ideas.
BJ: Can’t you see that it could possibly
come from within you?
KJ: Sometimes, yes. I think that we also
take ideas out of thin air.
BJ: Can I ask you about the human photocopies?
These works are lifesize and they appear to
to be dead. Can you explain this work?
KJ: Not really; Possibly we make things in
order not to explain them.
BJ: What about these images of clothing,
without the wearer?
KJ: Oh yes, I make high-resolution scans of
things.
BJ: Is there a reason that you work with
machines?
KJ: It’s very practical. There is exactitude,
which allows for poetry to enter sometimes.
Within the clothing we can feel they had
wearers, particularly the dress from Madame
Gres. In the bleak mid-winter, we took my
scanner to the museum archives, a very cold
environment, which is necessary to preserve
the collection, which spans centuries.
Section by section, for hours, I scanned
the gown, and was aware of the eerie and
phantasmagoric presence within this huge
kind of municipal parking lot, lit by cold
tungsten and housing long forgotten dreams:
weddings, marriages, funerals. You suddenly
which we hopelessly try to follow. Within all
this, the human presence is still very much
there. The dress, never cleaned, is full of
DNA, the data of this woman who is buried
somewhere, but her dress pervades. So even
if I would like to not be, I am inextricably
linked to the body even in its absence.
BJ: Would you say a metaphysical force
motivates you?
KJ: Certainly. There is a book, ‘The Concept
of Mind’, by Gilbert ryle, in which he says
that our minds must be somehow hidden in our
body like strange immaterial ghosts in the
machine.
BJ:
KJ: Oh yes, dreams are a prerequisite to
continue.
BJ: Can you tell me one of them?
KJ:
sells her dreams, and in the process, slowly
starts to disappear.
BJ: Is this an autobiographical work?
KJ: No, I think we all naturally disappear
through living life.
BJ: What do you mean?
KJ: Well, life is constantly dissolving, you
cannot recapture a moment, our bodies exist
in space and time, subject to the laws of
physics.
BJ: And what of the soul?
KJ: Well this seems very heavy all of a
sudden, and I feel uncomfortable speaking of
my innermost feelings to a publication
BJ: Yes, but are not these issues strictly
bonded to the creative process?
KJ: undoubtedly so, but it should not
necessitate that I share my very raison
d’etre quite so liberally.
BJ: But you do believe in the existence of
the soul?
[Long silence]
KJ: I may need to create a distraction now,
deus ex machina. Simone Weil, the French
philosopher and Christian mystic, wrote
obtain permission to pass directly to the
soul”.

by zACH HAVAs
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21

INStA-Art
In July 2014, Sotheby’s announced a
streaming venture in partnership with eBay.
The second half of 2014 saw sales through
Christie’s online auctions jumping by 70%.
Today, more than 70 million people around
the world buy art. Seventy years ago, just
after WW2, just half a million bought art.
The Internet has changed the rules of the art
world, though not necessarily to the liking
of the traditional Art Establishment.
Agents have been replaced by social media.
Brands and banks invest directly in artists via
brand curators and even the buyers are turning
more and more to this virtual marketplace. It’s
a new game, a new business, where the power
passes from one hand to another in a click,
and artists have more of that power. A new
generation of artists share their paintings,
collages, pictures and installations on the web
in much the same way as an earlier generation
used walls and trains.
By posting their work on social networks
like Instagram and Tumblr, they have created
virtual galleries where the public have only
to click on the ‘Like’ and ‘Follow’ buttons
to increase artists’ celebrity and value. By
offering more or less affordable art, they
have brought more buyers into the marketplace,
creating an art market worth more than 5
billion dollars a year. Here is our selection
of Insta-Artists to watch.
YuNG JAKe
Yung is actually a rap singer but his emoji art
has won him 49.7k followers on Instagram. Pop
celebrities, actors and fashion models are his
source of inspiration. Yung was commissioned
by Pepsi to create an emoji campaign, which
has gone viral. As an artist, he has 49.7k
followers on Instagram.
euGeNiA LOLi
Originally from Greece, Eugenia Loli lives
in California. She has 44.7k followers on
Instagram but her work is also available on
other websites. Loli uses photography scanned
from vintage magazines and science journals to
create bizarre visual narratives borrowing from
Pop Art, Dadaism and traditional Surrealism.
She gives away much of her work through Flickr
as downloadable, printable high resolution
MYDAYWitHLeO
Joel Strong, who started his work about fame
and glory a few years ago with pictures of
Leonardo Dicaprio, is the New York-based
artist behind this hilarious and subversive
Tumblr identity. MYDAYWITHLEO is also on
other websites like Instagram, where he has
148k followers. Strong mixes scenes featuring
normal people with images of celebrities from
magazines.
AttiANAGALLerY
We don’t know much about Tatiana Gaitan, except
that she is from Bogotá. Gaitan has described
her art as collage works inspired by retro and
modern fashion, through surrealism. She likes
to work on and intervene in existing images to
create parallel worlds. Although Gaitan only
has 1584 Instagram followers, she has caught
the attention of Society6 so we are betting
DrAWBertSON
At the end of 2014, Donald robertson alias
Drawbertson had 136k Instagram followers and
held the Council of Fashion Designers of
America’s new ‘Instagrammer of the Year’ award.
Half a year later, his Instagram following
has risen to 142k. One of the three founders
of MAC Cosmetics, robertson specialises in
creating images from colour tapes maxing with
painting. His work is about fun and glamour.
His day job is running creative development
at Bobbi Brown, part of the Estee Lauder
Companies.

@DrAWBertSON: blue hair punk / i got a new snarf / spray afro
INsTA-ARTINSTA-ArT / INSTA-ArT
/ INSTA-ArT / INSTA-
ArT / INSTA-ArT / IN-
STA-ArT / INSTA-ArT /
INSTA-ArT / INSTA-ArT
ArT / INSTA-ArT /
by MÉLANIE CANARD
27

@DAYWitHLeO: #mydaywithriri / #carainthecity / part 1 #mydaywithlovetriangles / / #MDWLtinderdate (at Crif Dogs Brooklyn) / #mydaywithkanye

@euGeNiALOLi: the Lovers vs the elements / toasted / Discothèque / A Couple of Sailors

@YuNGJAKe: cara / bill / pharell @euGeNiALOLi: Dependable relationship

ANOtHer FOrGOtteN tALeNt...
Six years ago, a Parisian collector bid successfully on a couple of hundred books consigned
to public auction by the descendants of the artist Michel Dubost, who lived from 1879 to
1952. The books had once graced the bookshelves of Dubost’s library. Being an educated man,
the collector knew who Dubost was, even if the artist has been largely forgotten by the art
and fashion worlds. Thrown in with the forlorn remnants of Dubost’s library was a folder
containing over 200 small paintings.
In her foreword to the 1930 book ’28 Compositions de Michel Dubost pour des Tissus de Soie’,
the French writer Colette described the Dubost as “The one that weaves the sun, the moon and
the blue beam of the rain”.
Of course, Michel Dubost didn’t actually weave the silks ordered by interwar couturiers like
Elsa Schiaparelli, Coco Chanel, Lucien Lelong and Paul Poiret. He conceived and painted the
designs that were then woven on the Jacquard looms of the avant-garde Lyon silk manufacturer
François Ducharne, with whom Dubost worked from 1922 to 1933.
from the catastrophe of the Great War. By the early 1920s, women’s fashion had undergone a
also been a revolution in the colour schemes and patterns adorning womenswear. Although
modern art and design.
Headhunting Michel Dubost was an astute move. Dubost understood the strict parameters imposed
by the geometric nature of the weaving process, even though some of the original examples of
his art reproduced here seem anything but geometric.
painting techniques in relation to the decoration of textiles. During his time in charge
of the class, his students are known to have included raoul Dufy and said by some to have
included Marc Chagall, recently escaped from Soviet russia.
Admitted to the Beaux-Arts in his native Lyon when he was 15 in 1894, Dubost had been a
describe as a Master of Arts course, attended by adult artists, so we can conclude that the
directors of the school appreciated the talent of the teenager standing before them.
Michel Dubost never achieved the fame of his friend and sometime student raoul Dufy but he
designs attest to an extraordinary versatility, taking in disciplines or anti-disciplines
like Modernism, Dadaism and Cubism.
Not all of the work found in the folder is by the same hand. This is logical, given that the
dozens of pieces were evidently kept as souvenirs by Dubost, who would also have kept works
part of Maison Martine to train uneducated working class girls before the First World War.
François Ducharne and Michel Dubost parted ways in 1933 and Dubost worked with other silk
houses like Bianchini-Férier until his retirement. He died in Grasse in 1952. In a sense,
Dubost’s work represents the sometimes complicated crossover and dialogue between art and
fashion. Sometime before his death in 1944, Paul Poiret said of Dubost in the context of
his career in fashion that “...a man of genius cannot comply with the requirements of the

MICHELDUBosTDuBOST / DuBOST / Du-
BOST / DuBOST / DuBOST
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by
oNDINECHARLEsWoRTH
33

model/ LoULoU RoBERT
LoULoU by soNIA sIEFF
PREVIEWuN Nu / uN Nu / uN Nu /
uN Nu / uN Nu / uN Nu /
39

s&MINgoTHAMS&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
GOTHAM / S&M IN GOTHAM
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
/ S&M IN GOTHAM /
S&M IN GOTHAM / S&M
IN GOTHAM / S&M IN
45
7Questions/
Prosper Keating: What
did you want to be
growing up?
Natasha Gornik: A
ballerina.
PK: Are you a romantic?
NG:
PK: What is your
favorite book right
now?
NG: Oh shit.
PK: Shit?
NG: um, Oscar Wilde,
Portrait of Dorian.
PK: BuZZZZ! Time’s up!
NG: I just saw ‘under
The Skin’.
PK: What music do you
like?
NG: All kinds except
for contemporary
country or r&B.
PK: What is your
favorite pastime?
NG: Yoga.
PK: What would you
like to do next week?
NG: Go to Thailand.
NATAsHA goRNIk
interviewed
by PRosPER kEATINg

PHOtOGrAPHiNG S&M iN GOtHAM CitY.
Prosper Keating: How did you get the people you photographed
in your reportage to let you in?
Natasha Gornik: Well, I started out as a pro-Dom a long
time ago back in Chicago, and I wasn’t cut out for it
but I loved being in the room and being part of the vibe
and the scene. So I started photographing people. I
bring something to the table, so I started making pretty
pictures of dominatrices to gain their trust, after years
and years of working on the pro side of it.
PK: And, of course, that helped to establish a trust and
a rapport with them.
NG: That’s the most important thing.
PK: Obviously, people have made comparisons between your
work and Nan Goldin’s work, which is perhaps slightly
grimmer. How do you feel about that?
NG:
I’ve always seen a truth in it. There’s a purity and an
authenticity to it that is really important to me. I am
sure she inspired me from the beginning. I’ve known about
her forever, so I am sure I went into my photography not
knowing what I wanted to do but knowing that I loved what
still is.
PK: In New York or Gotham City, as some people like to
call it…
NG: I love that you call it Gotham!
PK: Well, ‘Gotham’ sums up the dirtier side of New York,
the side we always loved. How do you feel about the two
city?
NG: I didn’t get here until 2007 but, of course, I had
done my homework and many of the artists I loved were
part of the seventies and the eighties; that whole scene
back in the day. It’s a entirely different world now.
It’s a very rich city.
PK: How do you think the S&M scene has managed to survive
in this rich, clean, sanitised environment?
NG: Interesting question. When I got here it was Bloomberg
and he was shutting down a lot of the dungeons. They
did a huge sweep over a few years, but, lifestyle-wise,
it didn’t change anything. It made it stronger because
fetish and kink comes from within. You can’t take that
away from people. The underground scene hasn’t changed
much; some of the clubs shut down so maybe it’s a little
quieter these days.
PK: Do you think shutting down the clubs ended up promoting
what Bloomberg and his fellow-travellers were in fact
trying to suppress? Forbidden fruit…
NG:
But when the professional studios and dungeons were
getting shut down, it created smaller venues. It became
even more private, more exclusive. It actually made it
even more underground even though it was exposed in the
tabloids, this ‘big exposé’, it shoved it down deeper in
the dirt, because that’s where you had to be to get away
with it.

To mark the sixth anniversary of Michael Jack-
son’s death, 7POSt presents these unpublished images of
the singer of the iconic singer from a series of portraits
shot in Paris in 1999 by the photographer Arno Bani.

EXCLUsIVEMICHAEL JACKSON
uNPuBLISHED / MICHAEL
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
uNPuBLISHED /
MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED
/ MICHAEL JACKSON
JACKSON uNPuBLISHED/
49
MICHAEL JACksoN
by ARNo BANI

1: GuN, NerF / 2: SuNGLASSeS, SMiLeY / 3: MASK LeGiON, PArASite / 4: HiM: BASeBALL CAP,
CLAire’S MASK, ASterO Pure, PArASite. Her: SuNGLASSeS rAY , PArASite / 5&6: StriPeD PiNK
uMBreLLA, NeW LOOK / 7: HAt, MurMure BY SPirit FAN, DuveLLerOY / 8: viSOr, COurrèGeS
eYeWeAr / 9: SKuLL CLutCH, MANiSH ArOrA / 10: GuN, Ner / 11: SHOe, NiCHOLAS KirKWOOD
SKuLL CLutCH, MANiSH ArOrA / 12: Her:MASK LeGiON, PArASite
SHOe: NiCHOLAS KirKWOOD / 13: MASK LeGiON, PArASite/ 14: MASK LeGiON, PArASite SHOe, NiCHOLAS KirKWOOD
3
5
4
6
CANNEs 2015uGC rOOFTOP / uGC
rOOFTOP / uGC rOOFTOP
/ uGC rOOFTOP / uGC
/ uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFYOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
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uGC rOOFTOP / uGC
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uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
rOOFTOP / uGC
/ uGC rOOFTOP /
uGC rOOFTOP / uGC
/ uGC rOOFTOP /
51
by FELIX LARHER

FLoATINg PosTER
DEsIgNED IN 2010 BY THE gRAPHIqUANTs
THE FLoATINg PosTER oCCUPIEs VACANT ADVERTIsINg sPoTs IN
FRENCH RAIL AND METRo CARRIAgEs.
PREVIoUsLY A sILENT, PAssIVE VIsUAL, THE FLoATINg PosTER WILL
sooN HAVE A VoICE.
PAssENgERs sCANNINg THE IMAgE WITH 7PosT’s AUgMENTED
REALITY APP WILL sEE AND HEAR A MUsIC CLIP sPECIALLY PRoDUCED
FoR THEM BY AkATRE.
EXPLAININg THE CLIP, WHICH WILL ALso BE AVAILABLE oN 7PosT’s
WEBsITE, AkATRE sAID:
“soME MEMBERs oF THE PUBLIC WoN’T LIkE IT so IN A CERTAIN
sENsE, IT’s sELFIsH, EgoTIsTICAL, BUT IT PLEAsEs Us.
IT Is ABsoLUTELY NECEssARY THAT WE ENJoY oUR WoRk AND THIs
Is MoRE oF A PERsoNAL PRoJECT THAN A CoMMERCIAL oRDER.
IT’s AN EXPREssIoN oF THE soNoRITY THAT WE DoN’T PERCEIVE.”

L E N O U V E A U P A R F U M D E D I O R
www.dior.comDiorOnline0149538888

7Post Magazine #5 Art issue

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