MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY IDEA_REALIZATION MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY HISTORY F16x9 began as FLY DVD Magazine in 2003. Merging analog and digital technology, With FLY DVD‘s success, the creators developed a reputation for high-quality produc- In January of 2010, FLY16x9 exhibited select works directed by Stephen Blaise at the founders Stephen Blaise and Catherine Camille Cushman created a new paradigm tion values and content creation. Commercial clients began approaching and hiring Deutsche Guggenheim Berlin as part of a group show titled ‘Utopia, how nice with- as a response to the creative stagnation and repetition of ideas they were finding in the creative team for their unique aesthetic sensibility and singular vision. out you?’ In February, FLY16x9 was given a retrospective film screening at the newly traditional print media. renovated SVA Theater in Chelsea, New York. The following month, FLY16x9 launched From 2006 to 2008 Conde Nast and FLY formed a partnership, in which FLY‘s original Beauty16x9, a channel curated by makeup artist Thorsten Weiss. Blaise and Cushman recognized that media and the way people were receiving it content was licensed and a FLY channel was created on their web-based subsidiary was rapidly changing, yet they found that no one was offering original high-quali- style.com. In 2011, FLY16x9 debuted select works at Centre Pompidou, Paris. ty art related content for these new media outlets. Technology had advanced to the point where it began to offer an ‘anything-is-possible’ premise and the possibility of By 2009, the writing was on the wall, DVD technology was becoming obsolete. The In 2012, FLY16x9 exhibited work at the The Wooster Art Museum, Ebert Art Center. a multi-sensory media platform which would provide a more complete and immersive future of media was not going to be something you could hold in your hand but was Later that year, FLY16x9’s profile on architecht Todd Schleiman was officially selected viewer experience. somehow going to exist in the ether. Blaise and Cushman decided to cease publica- and screened at the Architecture and Design Film Festival. tion of a physical ‘magazine’, launching in 2009 the web-portal FLY16x9. FLY could now They envisioned a space that would serve as a platform for an authentic exchange of distribute original art and culture related content to its global network of subscribers. In 2013, as the ploriflation of online content was becoming ubiquitous, FLY’s founders ideas and collaborations between individuals of various disciplines. Surrounded by The first channels to debut were FASHION16x9 and ART16x9. again decided to go in their own direction. No longer posting for general consumption, a community of artists and tech savvy friends working in diverse fields such as art, they would now begin to focus their attention on exploring a more personal intimate fashion, music, film, photography, web programming, technology and design, Stephen FASHION16x9 launched as a platform for artists, utilizing the motion-based fashion viewer experiance. Blaise and Catherine Camille Cushman realized that by combining these talents, they editorial as a primary element in the formal structure of their work. could fully utilize the new technology and communicate in a more vital and lasting FLY16x9’s artists will continue to change the way culture and ideas are communicated way. ART16x9, the channel curated by Laurent Vacher, features interviews, profiles and by championing expression through art and design, exploring process and expanding collaborations between FLY16x9 and some of the world‘s most important artists. the boundaries of narrative structure and viewer experience. The idea of a DVD ‘Motion Media Magazine’ was conceived to fill a missing presence in the world of media and culture. By adding motion and sound to their unique exper- 2009 also marked the beginning of FLY16x9‘s exclusive use of the Red Camera. The imental narratives, this DVD magazine would bring the two-dimensional print maga- Red Camera captures images at five times the quality of HD, allowing for crystal clear zine to life. The name FLY was chosen referencing Yoko Ono’s experimental work and floor-to-ceiling projections that are conducive to exhibition spaces and large screen films of the 60’s and early 70’s. theaters. With the launch of the ZERO issue in December 2005 and the instant critical acclaim With this new technology and increased image resolution, FLY16x9‘s Artist Collective it received, this concept was fully realized in the form of a physical multi-media DVD began to exhibit in major international art institutions. Beginning in 2008, FLY16x9 ex- magazine. hibited select pieces at the ICA London as well as the NOOVO Festival in Santiago de Compostela, Spain. As pioneers of the fashion narrative in cinema, Blaise and Cushman used the open frame of the fashion editorial to explore an expanse of atypical ideas such as; cau- In May of that same year, FLY16x9 was given an exhibition at the FOAM Museum in sality, identity, limitation and perception. With the publication and realization of this Amsterdam, while concurrently showing at the Stedelijk Museum in the same city. project, the boundaries between art and fashion were dissolved. The exhibiting work at the Stedelijk was titled ‘Anything Good Goes’, a video installa- tion piece created in collaboration with the artist Liam Gillick, a chosen finalist for the FLY DVD became the next step in the evolution of the traditional print publication, as prestigious Vincent Van Gogh award. the worlds first High-Definition ‘Motion Media Magazine’, using the power of film and technology to showcase work globally. In September of 2009, FLY16x9 filled the Atrium of the Museum of Modern Art in New York with a selection of films that included ‘Smoking Kills‘ and ‘Eliminate Why‘, “The first fully digital fashion magazine, where music meets art meets video” FLY16x9’s first films created exclusively for exhibition only. Vanity Fair described the -Style.com 2006 large-scale installation as “Mesmerizing”. LVMH’s Veuve Clicquot became the global sponsor and their signature Veuve Clicquot Yellow was found beneath the perforated backing of each FLY DVD. MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY PRESS QUOTES -THE DAILY BEAST ‘A semi-transcendental art experience…the exploration of universal ideas.’ -VOGUE PARIS/HOMMES ‘A work of Art and Design.’ -NEW YORK TIMES ‘A slick and seamless presentation.’ -ROLLING STONE MAGAZINE ‘A new way of reading fashion.’ -VANITY FAIR ‘Mesmerizing.’ -NUMERO (FRANCE) ‘A gem.’ -RESOURCE MAGAZINE ‘Haunting and profound… delivers uncommon opportunities to experience temporality, refine narratives and intensify emotions.’ -ANTHEM ‘What if one frame isn’t enough? FLY is the answer.’ -FRANKFURTER ALLGEMEINE ZEITUNG ‘FLY has little in common with other fashion publications.’ -JC REPORT ‘Smooth, compelling and conceptual.’ -FASHION WIRED DAILY ‘High-end production values and the spirit of experimentation.’ -WWD ‘Unconventional.’ -NYLON ‘It’s enough to make you put down your Nylon.’ -ZOOT ‘Unlike anything the Art and Creative worlds have ever seen.’ -VOGUE ITALIA ‘Pioneering the frontier of fashion communication, moving it closer towards true cinema.’ -STYLE.COM ‘The first fully digital fashion magazine, where music meets art meets video.’ MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY ART 16X9 FLY GALLERY MEDIA KIT SUBSCRIBE CONTACT ========================= LIAM GILLICK ========================= Liam Gillick’s video Ev- erything Good Goes is set in New York in 2008. An artist is preparing and ed- iting a series of texts and recording of lectures that he presented at unitedna- tionsplaza in Berlin. As he reworks the contents of the lectures, he is at the same time attempting to construct a 3D computer model of the film set of Tout va bien by Jean-Luc Godard and Jean-Pierre Gorin. The process is filmed and co-directed by Laurent Vacher, Cather- ine Camille Cushman and Stephen Blaise. Tout va bien may be seen as Godard’s homage to the leftist, activist spirit of 1968, but also, accord- ing to critics at the time, questions the purpose of a revolutionary film in a bour- geois society. LIAM GILLICK SHIRIN NESHAT BRUCE GILDEN ARAKI MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY Interview Interview Profile Interview FILM ARCHIVE Givenchy Thom Browne Louis Vuitton 'Opening Sequence' 'Tea a tete' 'Shadow' Hussein Chalayan Zucca Sonia Rykiel 'Torrent' 'Missed Connections' 'String' Prada Christian Dior Junya Watanabe 'My World' 'Platonic Crush' 'The veil' Zac Posen Mads Nørgaard Ann Demeulemeester 'Night for day' ‘Copenhagen Experience’ 'Vacuus Numb' Maison Martin Margiela Louis Vuitton Cloak 'I got devil' ‘Protest’ 'Parallax View' MA3 AGENCY PROPRIETARY AND CONFIDENTIAL FOR PRESENTATION PURPOSES ONLY It‘s impossible to remove desire from your life. Even the desire to live is a desire. Your de- E T’AIME, MOI MON PLUS sires, pain and personal struggle, everything comes from that. That‘s our truth and what defines us. Hopefully, it‘s where the work is based, where the most interesting questions Fashion has tumultuous relationships with other creative spheres such as cinema and are raised. Everything is a self-portrait,” he concluded. contemporary art. They flirt, borrow, and steal, at times with complicity, at times with PRESS_ARTICLES duplicity, and often, with impudence. FLY seeks to explore this volatile alchemy by mixing When asked to define FLY– “Is it a magazine?” we asked– Blaise responded: “To put it fashion video editorials, short films, animations, portraits of contemporary artists and music simply, FLY is more than a magazine. You only have to watch it in its entirety to fully under- videos. stand what this means.” Indeed, words are hardly sufficient– and rarely used– to define the work of Blaise, Cushman and their crafty collaborators. Thus, as instructed, we shall They invite creators from various disciplines to direct short films and videos.