KALEIDOSCOPE's Fall/Winter 2023 issue launches with a set of six covers. Featuring Sampha, Alex Katz, Harmony Korine, a report into the metamorphosis of denim, a photo reportage by Dexter Navy, and a limited-edition cover by Isa Genzken.

Also featured in this issue: London-based band Bar Italia (photography by Jessica Madavo and interview by Conor McTernan), the archives of Hysteric Glamour (photography by Lorenzo Dalbosco and interview by Akio Kunisawa), Japanese underground illustrator Yoshitaka Amano (words by Alex Shulan), Marseille-based artist Sara Sadik (photography by Nicolas Poillot and interview by Daria Miricola), a survey about Japan’s new hip-hop scene starring Tohji (photography by Taito Itateyama and words by Ashley Ogawa Clarke), Richard Prince’s new book “The Entertainers” (words by Brad Phillips), “New Art: London” (featuring Adam Farah-Saad, Lenard Giller, Charlie Osborne, R.I.P. Germain, and Olukemi Ljiadu photographed by Bolade Banjo and interviewed by Ben Broome).

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The most southernly city in the US, Miami exists in the tropical recesses of the American imagination: land of celebrity, thunderstorms, Tony Montana, and Art Deco architecture. Here, we meet the latest generation of Miamians—committed radicals in the fields of art, fashion, and music, who are dreaming up new narratives for the city they call home.


The art world’s compulsion to categorize by the yardstick of “hot or not” has historically been the driving force behind the market and the gallery system. Commerce is intertwined with this metric, spurred on by the insatiable appetite to find talented young things to build up. This system is uninteresting: what’s in vogue rarely reflects those operating at the cutting edge. Who are those young emerging artists making work against all odds—work that is difficult and costly to make, store, exhibit, move, and sell? These five individuals typify this path. Working across video, sound, installation, and sculpture, they march onwards, carving out their own niche—exhibiting in empty shop spaces one day and major institutions the next. For them, making is guided by urgency, and persistence is motivated by blind faith.


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KALEIDOSCOPE hosted a solo exhibition by Marseille-based artist Sara Sadik (b. 1994, Bordeaux), in November 2023 at Spazio Maiocchi in Milan, with the support of Slam Jam. Inspired by videogames, anime, science fiction, and French rap, Sara Sadik’s work explores the reality and fantasies of France’s Maghrebi youth, addressing issues of adolescence, masculinity, and social mythologies. Her work across video, performance, and installation often centers on male characters, using computer-generated scenarios to transform their condition of marginalization into something optimistic and poetic.


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In 2023, from June 22 to June 24 during Men’s Fashion Week in Paris, KALEIDOSCOPE and GOAT presented the new edition of our annual arts and culture festival, MANIFESTO. Against the unique setting of the French Communist Party building, a modern architectural landmark designed by legendary Brazilian architect Oscar Niemeyer, the festival will bring together visionary creators from different areas of culture across three days of art, fashion and sound. The 2024 edition will run from June 21 to June 23.


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In April 2023, a year after the launch of the magazine, Capsule introduced Capsule Plaza, a new initiative that infuses new energy into Milan Design Week by redefining the design showcase format. A hybrid between a fair and a collective exhibition, Capsule Plaza brings together designers and companies from various creative fields, bridging industry and culture with a bold curation that spans interiors and architecture, beauty and technology, ecology and craft. The 2024 edition will run from April 15 to April 21.




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Operating under the Crystallmess alias, Christelle Oyiri is a DJ, producer, and artist born and raised in Paris. Her work across mediums deals with post-colonialism and her experiences as a Black person in France, but also the exuberance, hope and joy of the community of the dancefloors.


I first started to get obsessed with your DJ sets four years ago, with a mix you made for DISCW0MAN, which was technically and artistically great but also political in its exploration of the underground. Do you feel this political tension when you are DJing?


When I DJ, I mostly blackout. I barely look at people. I’m not super expressive but trying to get really introspective to the crowd. I feel like, instead of really thinking about DJing consciously, I’m trying to make people dance, because being a DJ is a very utilitarian art form. I think that if you don’t intend to make people dance, you should just leave the stage. Do not waste people’s time. Making people dance is something really spiritual and esoteric; they choose to concede or give away some of their power, and to be vulnerable and embrace movement. I’m not trying to preach anything, but let me show you how twisted I can make this banger that is familiar to you, introduce you to a new way of listening to a track that you initially knew. Kind of the Freudian slip of a banger is what I’m trying to do.
Cyrus, you told me several times that I was a crazy dumb DJ, and, also, that was a compliment, because you are one of the people that understands the most what I’m trying to do, because I flipped a lot of stuff that you already knew. And I think that’s why you reacted so vividly to my DJing, as well.


This was obviously a compliment (laughs). What is your background and relationship to music? What did you listen to when you were younger?


Well, I grew up in the suburbs of Paris, in the south of Paris, an area home to a very influential rap group called Mafia K-1 Fry. It was the first French rap CD that I got. It was a very hybrid type of music, I think, because they had very high- pace, filtered disco samples, but also North African music infused and also Caribbean music. It was really a weird French rap object and one of the highest-selling rap albums of all time in France at that time.
I grew up listening to a lot of rap because of my brothers, DJ Quik and stuff that a little kid had no business listening to, to be honest. But, then, I feel like I also had the luxury of just listening to what everybody was listening to, like the Spice Girls or whatever. My parents were listening to mostly Haitian music, West African music, Zouk. My parents were going out at this club called Queen.


The Queen club on the Champs-Elysées in Paris?


Yes, every weekend. It was a techno club at that time. My dad was a security guard at a science museum in Paris, and my mom was a hairdresser. But every Friday or every Saturday, when they could, they would go to the club.
When I was four, they took me to the Notting Hill Carnival, even though they couldn’t speak English and still can’t. It kind of changed my life forever. Carnival is very transgenerational. There were both little kids and grownups, and nobody was left out. Everybody had their own fun. The music was constantly banging; everybody’s running around. And I think that it kind of molded me into the person that I am and I’m super grateful for it.
If I need to talk about what I was listening to when I was a teenager, I would say I was a MySpace queen. So I was listening to a lot of, I would say, indie stuff. But it was the blog era, so everything was mixed with each other.


It was a truly open-minded way of consuming music at that time.


It was very open-minded, yes, a really exciting period for anything that had nothing to do with major record labels.
So you would find interesting music through peer-to-peer stuff, which I was addicted to, and through spending hours and hours downloading stuff. I was ready for whatever. I was not looking for genre, basically. I was just on the internet all day, and, I don’t know if you remember, but, at that time, you couldn’t be on your internet and call at the same time. So my mother would curse me out to stop using the internet: “Stop using the computer!”

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I also remember you often refer to the French sociologist and philosopher Jean Baudrillard. Did he influence your work?


In the process of writing my performance R.I.P APORIA, I really got into Baudrillard and, most importantly, his extensive study on terrorism, which gave me a lot of tools to understand the world that I’m living in right now, as someone that was in her early 20s during the 2015 attacks in France. I think I was blown away by his requiem for the Twin Towers—when he described 9/11 to be the ultimate post modern terrorist event. It is a challenging and controversial analysis: exhibiting a “form of action which plays the game, and lays hold of the rules of the game, solely with the aim of disrupting it. ... They have taken over all the weapons of the dominant power.” The terrorists understood that... to create impact, you have to create spectacle/entertainment—“the money shot,” like we often say.


You’re also working on visual art projects. Could you tell us about what’s coming up?


I’m working on my upcoming exhibition set to open next November, curated by Fredi Fishli and Niels Olsen at The Institute of the History and Theory of Architecture in Zurich. I will explore the idea of “poisonous paradise,”—drawing inspiration from my trips to Guadeloupe, where my mom is from, and the hidden necropolitics in the “French” Caribbean, a place that has been advertised as a leisure/vacation destination for metropolitan people, yet has been steadily poisoned. I’m currently exploring these themes while including analog techniques like old holographic stuff from the 80s and including them in more of a sculpture/installation artwork, trying to merge music, visual art and performance together in a way that feels homogenous and natural for me.


Any new music to be released soon? It’s been ages since your self-released EP Mere Noises!


I’m currently finishing a new EP—exploring vocal experimentations and a more narrative and collaborative approach to my work! I don’t wanna say too much before it drops, because music is about its immediate nature. I also realized during the process of making this EP that I am not the “bedroom producer” type anymore. A part of me still loves it, but I understand it is not the only way to create music.

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Crystallmess (birth name Christelle Oyiri) is a French-born Ivoirian-Guadeloupean DJ, producer, writer, and mixed media artist based in Paris. Curated by Fredi Fischi and Niels Olsen, her upcoming exhibition will open in November 2023 at the Institute of the History and Theory of Architecture in Zurich.
Cyrus Goberville is a French curator and head of cultural programs at the Bourse de Commerce – Pinault Collection, Paris.