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Championing creativity

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Bernhardaxilko-itsnicethat-hero — Bernharda Xilko: Untitled

Work / Illustration

Sexy and somewhat freaky drawings by Bernharda Xilko

Words by Liv Siddall, Friday 17 April 2015

Excuse the pun, but I’m a sucker for penis drawings. Birthday cards, desks, walls, Post-Its, other people’s books, car windscreens: to me the world is but a canvas for penile artwork. Judging by his startlingly extensive back catalogue of sexually charged, penis-infused illustrations, it seems Belgrade-based artist Bernharda Xilko is on the same page. His style is in the same camp as people like Patrick Kyle and Paul Paetzel but comes with a side order of terror, penetration and science fiction. For me, I like the depth of his one-panel cartoons, and how you can stare at it for a while like a saucy magic eye painting, and keep finding things you had missed first time around.

Bernhardaxilko-itsnicethat-1 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-4 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-2 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-6 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-5 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-90 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-7 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-8 — Bernharda Xilko: Untitled

Bernhardaxilko-itsnicethat-9 — Bernharda Xilko: Untitled

www.bernhardaxilko.tumblr.com

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Jyni Ong — 14 November 2018
Work / Miscellaneous PlayLab, Inc. says it doesn't “want to do the same thing twice” in its practice

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Work / Film Palestine Underground shines a light on the West Bank’s underground music scene  

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The Palestinian artists are blossoming in their creativity despite enforced constraints from the Israeli government; and although their movements are restricted and there is a midnight curfew, the Palestinian music scene refuses to dwindle, as seen in the film’s interviewees, who are brimming with musical passion and freedom of expression.
 
Produced by Boiler Room’s Anaïs Brémond and directed by BBC and Channel 4 documentary filmmaker Jess Kelly, Palestine Underground “connects the dots between club culture and cinema to stretch the boundaries of what a film experience can be”, recording a musical subculture that is little known in the West. The director Jess tells It’s Nice That that “this was exactly the kind of project I was looking for.” The filmmaker and journalist explains: “I’d been doing a lot of current affairs documentaries and I was keen to make a film where I could have more artistic freedom and the scenes breathe.”
 
Jess is a freelance documentary maker who made a career in filmmaking after studying Arabic at university. “Documentaries are a good way of mixing the language with my interest in what’s going on in the Middle East as well as visual creativity”, says Jess. Having made numerous films in the Arab-speaking world, Palestine Underground continues the director’s legacy of “challenging the stereotypes that we have in the West about this part of the world.”
 
The film seamlessly represents differing depictions of the complex environment of the West Bank. The unlawful Israeli raids are intertwined with segments of the booming music scene to accurately convey the disturbing sociopolitical tones that the West Bank’s artists endure. Of the filming process, Jess explains, “I’ve filmed in the West Bank and Gaza so it wasn’t a big shock, but the reality of that separation wall and the heavy Israeli military prescience is not something you could ever get used to.” For Jess and the rest of the production crew, one of the most significant scenes that was essential to execute accurately, is the road trip scene with Jazr crew from Haifa to the West Bank. “As Palestinians with Israeli passports, they have the privilege of being able to travel freely from Israel into the West Bank, but people in the West Bank can’t do the reverse. To even leave the West Bank they have to apply to the Israeli authorities for a permit, and it’s often denied”, the director explains. “It was really important to me to capture their mood during that trip, which was a mix of excitement and anger or unease at the fact that they have to cross that separation wall to get to their friends. It makes them feel like outsiders.”
 
From our privileged, European positions in front of the TV, we are presented with a media angle that focuses on Palestine’s destroyed areas of Gaza. However Jess describes the West Bank as “incredibly beautiful and peaceful.” The discovery of the music scene immediately evoked the “tight knit community of people” that are a part of Ramallah’s music scene, “and as a Londoner, I really envy that”.
 
Members of the production team spent a year getting to know some of the artists online before going out to the West Bank as a lot of the musicians are rightfully suspicious of the Western media misrepresenting the complicated political situation. The level of trust between the film crew and the artists is evident, particularly in the opening scene where the DJ Oddz jumps the separation wall into Israel. The intimate footage throughout the film similarly interweaves between the devotion to music and the brutal political tensions demonstrated by the handheld camera footage of Oddz crossing the wall. While going over it, he says: “you can’t build a wall and say you can’t go and do this, it’s music, it’s a right for everyone”. For Jess, this quote and the physical action of crossing the wall “sums it up”. The artists risk their lives for their right to musical expression.
 
Although Palestinian musicians face multiple restrictions on a daily basis which “rile up” Jess and the rest of the production team; it induces inspiration for what these artists have achieved and their musical talents. Finally, when asked about the future for the communities in the West Bank, Jess adds: “sadly, I don’t think the future looks bright in terms of the political situation for people in the West Bank, especially now under the Trump administration. But there’s still a lot we can do as individuals. One of the best things we can do is visit the West Bank. It’s not a ‘danger zone’ like the Israeli authorities refer to, it’s a beautiful place to visit. There’s an incredible underground music scene to discover, too.”

Jyni Ong — 13 November 2018
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For New York-based graphic design studio Common Name, working in exhibition design – or design for an environment – offers the opportunity to work with the otherwise elusive third dimension. “Most design applications in the print or digital space exist in two dimensions or, at least, are displayed on a 2D surface. Working in the environment allows us to think about how physical scale and perspective shift a viewer’s understanding or experience of content” co-founders Yoonjai Choi and Ken Meier tell It’s Nice That.

Billie Muraben — 13 November 2018
Work / Illustration Courtney Barnett discusses her love for illustrators, animators and her own creativity too

Courtney Barnett is a name audiences will recognise for her songwriting more than her practice as a creative. Beloved since the release of 2013’s The Double EP: A Sea of Split Peas and her debut record Sometimes I Sit and Think, and Sometimes I Just Sit in 2015, the Australian musician’s own illustrations have sat on covers, lightly illustrated in black and white with use of an impactful spot colour or two. The use of her work on these covers always giving audiences a glimpse into another side of Courtney, masterful at using a pen to illustrate as well as write.

Lucy Bourton — 13 November 2018

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It's Nice That — 13 November 2018
Work / Photography Sophie Green's latest project ventures into England's unlikely cowboy country

“Human life is so eclectic,” says photographer Sophie Green. “There are so many different facets of life, and people to be celebrated. I make photography to connect and communicate. I think that photography can have a huge influence on people; it’s a universal language than can reach everybody.”

Josh Baines — 13 November 2018
Work / Photography Chow and Lin documents the world’s inequality of wealth using Google Earth

Chow and Lin – AKA Stefen Chow and Lin Huiyi – is a married couple whose collaborative practice lies in the “methodology of statistical, mathematical and computational techniques to address global issues”. The duo’s work involves probing into “big data” such as satellite imagery that reduces individuals and societies into data points. Stefen and Huiyi’s aim is to draw attention to social issues through problematising multiple issues in society. Speaking to It’s Nice That about their latest project Homeless, the artists explore the inequality of the most privileged sociopolitical environments, and the least, through a large-scale photographic installation.

Jyni Ong — 13 November 2018
Work / Photography Etinosa Yvonne's poignant photographic montages reflect on trauma and memory

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Daphne Milner — 12 November 2018
Work / Publication Design studio work-form talk awkward typography, black holes and metallic gold

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Billie Muraben — 12 November 2018
Work / Digital Boook.Land is a new and massively collaborative approach to novel writing

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Josh Baines — 12 November 2018

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