THE ARTIST GALLERY: CREATIVE BLOCKISSUE #01 AUG 2022 JAN 2023 famous C OV E R A RT BY M U STA P H A R . I N S P I R E D BY ( B L U TO N E R O, 610 1981) © T H E E STAT E O F J E A N - M I C H E L B A S Q U I AT. "PASSION INSIDE"

focus on the art of it THE ARTIST GALLERY: CONTENT COVER TABLE OF CONTENTS EDITOR’S LETTER — 2 LA HAINE (movie choice) — 4 “YEAR 2022 IN DESIGN” — 5 JEAN-MICHEL BASQUIAT (artist choice) — 7 THE ALGERIAN WEST-SIDE IS COOKING SOMETHING — 17 THE CATCHER IN THE RYE (book choice) — 23 6 TYPES OF CREATIVE BLOCK (issue’s discussion) — 27 THE ARTIST GALLERY — STARTS FROM 29 SPECIAL THANKS — 38 BACK COVER 1

- I n t h e p r e v i o u s m a g a z i n e - i s h “ C o p y o f c o n f u s d m i n d _ l i m i t e d s h o w c a s e W I N T E R _ S P R I N G 2 0 2 0 _ d a y d r e a m Z _ ” , I t r i e d t o e x p o s e m y s e l f t o t h e w o r l d a s t h a t g u y w h o ' s " i f I w a n t i t , i f I l o v e i t , I w o u l d d o i t . . . e a s i l y " t y p e o f a person. That was the initial purp o s e o f h a v i n g t h e a u d a c i t y t o p u t t o g e t h e r a m a g a z i n e u s i n g C a n v a with zero to no experience in editorial design. - Well, the idea was excuted "perf e c t l y " a t t h e t i m e a n d i t g o t m e h a p p y, p r o u d o f w h a t I c o u l d a c c o m p l i s h , a m a z e d a t h o w m y design skills could adapt to differe n t a r e a / f i e l d s o f d e s i g n , e x c i t e d f o r w h a t t h a t ' m a g a z i n e ' w o u l d d o for my future. - B u t i n a l l h o n e s t y, t h e i m a g e w a s n ' t s o c r y s t a l c l e a r a s b e l i e v e d . T h i s e x a c t f a c t g o t m e i n t r o s p e c t i n g o n i f I s p e n t 2 0 2 1 / 2 0 2 2 o n a 2 0 / 2 0 v i s i o n ( p u n i n t e n d e d ) . A n d I a d j u s t e d m y d r e a m s a n d p a s s i o n s w i t h l o g i c a n d f r e e / o u t - t h e - b o x m e n t a l i t y, then I went on instagram to exactl y c h a n g e m y u s a g e p u r p o s e o f t h e a p p i n o r d e r t o g e t s o m e t h i n g finding many new peers and sources of inspiration to motivate m y i n n e r c h i l d w h o m i s s t i l l i n l o v e w i t h c o l o u r i n g a n d a l i g n i n g o b j e c t s t o g e t h e r s o t h e y ' d l o o k "hectic but with purpose". - T h o s e s p e c i f i c n e w d e s i g n p e e r s t h a t I g o t i n t r o d u c e d t o s o l e l y grace à Instagram, seeing their significant talent, extraordinary creat i v e a p p r o a c h t o c o m p l e t e t h e i r d e s i g n p r o c e s s , a l l t h a t r e a l l y d i d for me is to respectfully get humb l e d w i t h i n m y s e l f , o p e n m y e y e s w i d e o p e n t o t h e A l g e r i a n d e s i g n s c e n e a n d t h e d i f f e r e n t h i g h l e v e l s it's being performed at. - Wi t h a l l t h a t b e i n g s a i d , l a s t y e a r w a s o n e h e l l o f a n e x p e r i e n c e d u e t o l o s i n g m y d a d a n d g r a n d p a ( A l l a h Ye r h a m h o m ) , a l s o w a s t h e greatest year for my design progress, in addition to finding sweetness in the midst of all the jealousy, envy and hardships. - To y o u , t h e p e r s o n r e a d i n g , thank you for spending few seco n d s o n r e a d i n g t h i s . I h o p e y o u ' r e i n t e r e s t e d e n o u g h t o c o n t i n u e s c r o l l i n g ( h o p e f u l l y f l i p i n g ) t h r o u g h t h e s e p a g e s . Editor's Letter welcome to my world, world. – Mustapha R. focus on the art of it 2

La Sept Cinéma

la haine (1995) THREE FRIENDS FROM DIFFERENT ETHNIC BACKGROUNDS LIVE IN THE BLUEBELL HOUSING PROJECTS ON THE OUTSKIRTS OF PARIS. THIS IS NOT THE PARIS OF TRAVEL BROCHURES OR FILMS LIKE AMELIE, BUT A DESOLATE URBAN LANDSCAPE, HARSH AND GRIM WITH HOUSING PROJECTS THAT LOOK AS IF THEY COULD BE IN ANY BIG CITY IN THE WORLD. VINZ (VINCENT CASSEL), IS A WORKING CLASS JEW; HUBERT (HUBERT KOUNDE), THE MOST INTELLIGENT AND SELF-REFLECTIVE OF THE THREE, IS AN AFRICAN BOXER; AND SAID (SAID TAGHMAOUI), AN ARAB FROM NORTH AFRICA IS YOUNGER BUT JUST AS EMBITTERED. THE FILM DEPICTS THEIR RAGE AGAINST THE POLICE WHOM THEY SEE AS OPPRESSORS. MARGINALIZED ECONOMICALLY AND POLITICALLY, WITHOUT JOBS, PARENTS WHO CARE, OR HOPE FOR THE FUTURE, THE STREETS ARE THEIR HOME AND THEY ARE OPEN TARGETS FOR POLICE WHO ARE SHOWN AS BRUTAL AND RACIST. IN ONE STARTLING SCENE, A VETERAN COP TAUNTS AND PHYSICALLY ABUSES SAID AND HUBERT WHILE TRAINING A ROOKIE COP. THE ROOKIE CAN ONLY LOOK ON AND SHAKE HIS HEAD IN DISBELIEF. SHOT IN BLACK AND WHITE, LA HAINE SHOWS A SINGLE DAY IN THE LIVES OF THE THREE FRIENDS. FOLLOWING A MAJOR RIOT IN WHICH A LOCAL TEENAGER, ABDEL, IS CRITICALLY WOUNDED BY THE POLICE, VINZ, THE MOST VOLATILE OF THE GROUP, VOWS THAT IF ABDEL DIES HE WILL KILL A COP TO GET EVEN. HUBERT WANTS TO RESTRAIN HIM, AND SAID DOESN'T SEEM TO CARE EITHER WAY, AS LONG AS HE CAN GET HIS MONEY FROM A DRUG DEALER NAMED SNOOPY. WHEN VINZ FINDS A SMITH & WESSON 44 LOST BY THE POLICE DURING THE RIOTS, THE SPIRAL OF VIOLENCE ESCALATES AND BUILDS TOWARD A MEMORABLE CONCLUSION. LA HAINE DOES NOT OFFER ANY SOLUTIONS TO SOCIAL PROBLEMS BUT CLEARLY SHOWS THE ANGER AND FRUSTRATION OF PEOPLE WHO FEEL TRAPPED BY THEIR CIRCUMSTANCES. IN ITS DEPICTION OF A SOCIETY IN FREE-FALL, IT ALSO HAS IMMEDIACY. THREE WEEKS AFTER THE FILM WAS RELEASED, RIOTS BROKE OUT IN THE BRIXTON SECTION OF LONDON, FOLLOWING THE DEATH OF A YOUNG BLACK MAN IN POLICE CUSTODY. THOUGH IT IS A WAKE-UP CALL FOR ACTION ON SOCIETY'S GROWING GAP BETWEEN RICH AND POOR, LA HAINE MAKES A POWERFUL STATEMENT THAT VIOLENCE DOES NOT SOLVE ANYTHING AND THAT HATE BEGETS HATE. SOMEONE SHOULD PASS THE WORD TO A FEW OF THE WORLD LEADERS. WRITTEN BY MATHIEU KASSOVITZ DIRECTED BY MATHIEU KASSOVITZ STARRING: VINCENT CASSEL / SAÏD TAGHMAOUI / HUBERT KOUNDÉ (CRIME/DRAMA)MOVIE CHOICE PEN: HOWARD.SCHUMANN / SOURCE: IMDB 4

EXPERIMENT = INNOVATION WHITE 5 SPACE

"YEAR 2022 IN design " Mustapha R. For the ones whom are experts (or aiming to be) in the field of graphic design, surely they have noticed that I am heavily inspired by the late Virgil Abloh*, and it's ABSOLUTELY right. I'm fascinated by the idea of taking something that is familiar with the mass, established and well-known, putting a slight of your touch on it and all of a suddenly it becomes different yet familiar, creating a weird connection and attraction to it in consumers' hearts, and that is the capitalist manifesto, attracting more traffic from objects. Also grants the creator/designer freedom of choice and time to perform his magic on the many things that are culturally loved, that is how fashion designers view "objects" around us, and I personally feel like that's exactly how graphic designers should reconceptualize their posters, client work and such. The End-Goal is Split in 2: // ESTABLISH DESIGN CULTURE IN HIGH LEVEL. // FIND PURPOSE IN THE MIDST OF ALL CONFUSION. *THE LAYOUT OF THIS WHOLE SECTION IS AN HOMAGE TO HIM 6

Jean-Michel Basquiat, (December 22, 1960 – August 12, 1988) was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement. Basquiat's art focused on dichotomies such as wealth versus poverty, integration versus segregation, and inner versus outer experience. He appropriated poetry, drawing, and painting, and married text and image, abstraction, figuration, and historical information mixed with contemporary critique. He used social commentary in his paintings as a tool for introspection and for identifying with his experiences in the Black community, as well as attacks on power structures and systems of racism. His visual poetics were acutely political and direct in their criticism of colonialism and support for class struggle. SAMO

Basquiat first achieved fame as part of the graffiti duo SAMO, alongside Al Diaz, writing enigmatic epigrams in the cultural hotbed of Manhattan's Lower East Side during the late 1970s, where rap, punk, and street art coalesced into early hip-hop music culture. By the early 1980s, his paintings were being exhibited in galleries and museums internationally. At 21, Basquiat became the youngest artist to ever take part in documenta in Kassel. At 22, he was one of the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his artwork in 1992. Since Basquiat's death at the age of 27 from a heroin overdose in 1988, his work has steadily increased in value. In 2017, Untitled, a 1982 painting depicting a black skull with red and yellow rivulets, sold for a record-breaking 110.5$ million, becoming one of the most expensive paintings ever purchased. FAMOUS

I n h i s s h o r t b u t p ro l i fi c c a re e r, B a s q u i a t p ro d u ce d a ro u n d 1 5 0 0 d raw i n g s, a ro u n d 6 0 0 p a i n t i n g s, a n d m a ny s c u l pt u re a n d m i xe d m e d i a wo r ks. H e d rew co n sta n t l y, a n d ofte n u s e d o b j e cts a ro u n d h i m a s s u r fa ce s w h e n p a p e r wa s n ot immediately at hand. Since childh o o d , h e p ro d u ce d c a r to o n - i n s p i re d d raw i n g s w h e n e n co u ra ge d by h i s mother's interest in art, and drawi n g b e c a m e a p a r t of h i s e x p re ss i o n as an artist. He drew in many differe n t m e d i a , m o st co m m o n l y i n k , p e n c i l , fe l t- t i p o r m a r ke r, a n d o i l - st i c k . H e s o m et i m e s u s e d Xe rox co p i e s of fra g m e n ts of h i s d raw i n g s to p a ste o n to t h e c a nva s e s of larger paintings. The first public showing of Basquia t's p a i n t i n g s a n d d raw i n g s wa s i n 1 9 8 1 a t t h e M o M A P S 1 N ew Yo r k / N ew Wave exhibition. Rene Ricard's article "Radiant Child" in Artforum magazine brought Basquiat to the attent i o n of t h e a r t wo r l d . B a s q u i a t immortalized Ricard in two drawi n g s, U n t i t l e d ( A xe / Re n e ) ( 1 9 84 ) a n d René Ricard (1984). A p o et a s we l l a s a n a r t i st , wo rd s fea t u re d h eav i l y i n h i s d raw i n g s a n d p a i n t i n g s, w i t h d i re ct re fe re n ce s to ra c i s m , s l ave r y, t h e p e o p l e a n d st re et s ce n e of 1 9 8 0 s N ew Yo r k , b l a c k h i sto r i c a l fi g u re s, fa m o u s musicians and athletes, as his noteb o o ks a n d m a ny i m p o r ta n t d raw i n g s demonstrate. Often Basquiat's drawi n g s we re u n t i t l e d , a n d a s s u c h to d i ffe re n t i a te wo r ks a wo rd w r i tte n w i t h i n t h e d raw i n g i s co m m o n l y i n p a re n t h e s e s a fte r U n t i t l e d . A fte r B a s q u i a t d i e d , h i s e sta te wa s co n t ro l l e d by h i s fa t h e r G é ra rd Basquiat, who also oversaw the comm i tte e w h i c h a u t h e n t i c a te d a r two r ks, a n d o p e ra te d fro m 1 9 94 to 20 1 2 to rev i ew ove r 20 0 0 wo r ks, t h e m a j o r i ty of w h i c h we re drawings. I n t h e 1 9 8 0 s, a r t c r i t i c Ro b e r t H u g h e s d i s m i ss e d B a s q u i a t's wo r k as absurd. He attributed the Basquia t p h e n o m e n o n to b e a m i x t u re of hy p e, ove r p ro d u ct i o n , a n d a g re e d y art market. In a 1997 review for The Daily Teleg ra p h , a r t c r i t i c H i l to n K ra m e r b eg i n s by sta t i n g t h a t B a s q u i a t h a d n o i d ea w h a t t h e wo rd "q u a l i ty " m ea n t . H e re l e n t l e ss l y c r i t i c i ze d B a s q u i a t a s a " ta l e n t l e ss h u st l e r " a n d "st re et- s m a r t b u t ot h e r w i s e i nv i n c i b l y i g n o ra n t", a rg u i n g t h a t a r t d ea l e rs of t h e t i m e we re "a s ignorant about art as Basquiat hims e l f." I n s ay i n g t h a t B a s q u i a t's wo r k never rose above "that lowly artist i c sta t i o n" of g ra ffi t i "eve n w h e n his paintings were fetching enorm o u s p r i ce s," K ra m e r a rg u e d t h a t g ra ffi t i a r t "a cq u i re d a c u l t sta t u s i n ce r ta i n N ew Yo r k a r t c i rc l e s." H e fu r t h e r o p i n e d , "A s a re s u l t of t h e c a m p a i g n wa ge d by t h e s e a r t-wo r l d e n t re p re n e u rs o n B a s q u i a t's b e h a l f—a n d t h e i r ow n , of co u rs e — t h e re wa s n eve r a ny d o u bt t h a t t h e m u s e u m s, t h e co l l e cto rs a n d t h e m e d i a wo u l d fa l l i n to l i n e " w h e n ta l k i n g a b o u t t h e m a r ket i n g of Basquiat's name. DRAWINGS CRITICISM 9

(NEO-EXPRESSIONISM)ARTIST CHOICE Hollywood Africans, 1983 Courtesy Whitney Museum of American Art, New York. © The Estate of Jean-Michel Basquiat/ Artists Rights Society (ARS), New York/ ADAGP, Paris. Licensed by Artestar, New York. Untitled Skull, 1981 Courtesy Whitney Museum of American Art, New York. © The Estate of Jean-Michel Basquiat. Riding With Death, 1988 (his last work) Courtesy Whitney Museum of American Art, New York. © The Estate of Jean-Michel Basquiat. 10

B a s q u i a t's d i ve rs e c u l t u ra l h e r i ta ge wa s o n e of h i s m a ny s o u rce s of i n s p i ra t i o n . H e ofte n i n co r p o ra te d S p a n i s h wo rd s i n to h i s a r two r ks l i ke U n t i t l e d ( Po l l o Fr i to ) ( 1 9 82 ) a n d Sabado por la Noche (1984). Basquiat's La Hara (1981), a menacing portrait of a white police officer, comb i n e s t h e N u yo r i c a n s l a n g te r m fo r police (la jara) and the Irish surn a m e O' H a ra . T h e b l a c k- h a tte d fi g u re t h a t a p p ea rs i n h i s p a i n t i n g s T h e G u i l t of G o l d Te et h ( 1 9 82 ) a n d D e s p u e s D e U n P u n ( 1 9 8 7 ) i s b e l i eve d to re p re s e n t B a ro n S a m e d i , t h e s p i r i t of d ea t h a n d re s u r re ct i o n in Haitian Vodou. B a s q u i a t h a s va r i o u s wo r ks d e r i v i n g fro m A fr i c a n -A m e r i c a n h i sto r y, namely Slave Auction (1982), Undiscove re d G e n i u s of t h e M i ss i ss i p p i D e l ta ( 1 9 83 ) , U n t i t l e d ( H i sto r y of t h e B l a c k Pe o p l e ) ( 1 9 83 ) , a n d J i m C row ( 1 9 8 6 ) . A n ot h e r p a i n t i n g, I ro ny of N eg ro Po l i ce m a n ( 1 9 8 1 ) , i l l u st ra te s h ow A fr i c a n -A m e r i c a n s h ave b e e n controlled by a predominantly Cauc a s i a n s o c i ety. B a s q u i a t s o u g h t to p o r t ray t h a t A fr i c a n -A m e r i c a n s h ave become complicit with the "institut i o n a l i ze d fo r m s of w h i te n e ss a n d co r r u pt w h i te reg i m e s of p owe r " yea rs a fte r t h e J i m C row e ra h a d e n d e d . [ 1 5 1 ] T h i s co n ce pt h a s b e e n re i te ra te d i n a d d i t i o n a l B a s q u i a t wo r ks, i n c l u d i n g C rea te d E q u a l (1984). I n t h e e ss ay " Lo st i n Tra n s l a t i o n : J ea n - M i c h e l i n t h e ( Re ) M i x ," Ke l l i e Jones posits that Basquiat's "misc h i evo u s, co m p l e x , a n d n e o l og i st i c s i d e, w i t h rega rd to t h e fa s h i o n i n g of m o d e r n i ty a n d t h e i nfl u e n ce a n d of m o d e r n i ty a n d t h e i nfl u e n ce a n d e ffl u e n ce of b l a c k c u l t u re " a re ofte n e l i d e d by c r i t i c s a n d v i ewe rs, and thus "lost in translation." HERITAGE I n J u n e 1 9 82 , a t 2 1 , B a s q u i a t b e c a m e t h e yo u n ge st a r t i st to eve r ta ke part in documenta in Kassel, Germany. His works were exhibited alongs i d e J o s e p h B e u ys, A n s e l m K i e fe r, G e r h a rd R i c h te r, C y Two m b l y a n d A n d y Wa r h o l . B i s c h of b e rge r gave B a s q u i a t a o n e - m a n s h ow a t h i s Zu r i c h ga l l e r y i n S e pte m b e r 1 9 82 , a n d a r ra n ge d fo r h i m to m e et Wa r h o l fo r l u n c h o n O cto b e r 4 , 1 9 82 . Wa r h o l re c a l l e d , " I to o k a Po l a ro i d a n d h e we n t h o m e a n d w i t h i n two h o u rs a p a i n t i n g wa s b a c k , st i l l wet , of him and me together. The painti n g, D o s C a b e za s ( 1 9 82 ) , i g n i te d a fr i e n d s h i p b etwe e n t h e m . B a s q u i a t wa s p h otog ra p h e d by J a m e s Va n D e r Ze e fo r a n i n te r v i ew w i t h H e n r y G e l d za h l e r p u b l i s h e d i n t h e J a n u a r y 1 9 83 i ss u e of Wa r h o l 's I n te r v i ew magazine. I n N ove m b e r 1 9 82 , B a s q u i a t's s o l o e x h i b i t i o n o p e n e d a t t h e Fu n G a l l e r y i n t h e E a st V i l l a ge. A m o n g t h e wo r ks e x h i b i te d we re A Pa n e l of E x p e r ts ( 1 9 82 ) a n d E q u a l s P i ( 1 9 82 ) . I n D e ce m b e r 1 9 82 , B a s q u i a t b ega n wo r k i n g a t t h e st u d i o s p a ce a r t d ea l e r La r r y G a go s i a n h a d b u i l t b e l ow h i s Ve n i ce, C a l i fo r n i a h o m e. T h e re, h e co m m e n ce d a s e r i e s of p a i n t i n g s fo r a M a rc h 1 9 83 s h ow, h i s s e co n d a t t h e G a go s i a n G a l l e r y i n West Hollywood. He was accompanied by his girlfriend, then-unk n ow n s i n ge r M a d o n n a . G a go s i a n re c a l l e d : " E ve r y t h i n g wa s go i n g a l o n g fi n e. J ea n - M i c h e l wa s RISE TO FAME & SUCCESS 11

G a go s i a n re c a l l e d : " E ve r y t h i n g wa s go i n g a l o n g fi n e. J ea n - M i c h e l wa s m a k i n g p a i n t i n g s, I wa s s e l l i n g t h e m , a n d we we re h av i n g a l ot of fu n . B u t t h e n o n e d ay J ea n - M i c h e l s a i d , ' M y g i r l fr i e n d i s co m i n g to stay w i t h m e.' . . . S o I s a i d , ' We l l , w h a t's s h e l i ke ? ' A n d h e s a i d , ' H e r n a m e i s M a d o n n a a n d s h e 's go i n g to b e h u ge.' I ' l l n eve r fo rget t h a t h e said that." I n M a rc h 1 9 83 , a t 2 2 yea rs o l d , Basquiat became one of the youngest artists to participate in the Whitney Biennial exhibition of contempora r y a r t . Pa i ge Powe l l , a n a ss o c i a te p u b l i s h e r fo r I n te r v i ew m a ga z i n e, o rga n i ze d a s h ow of h i s wo r k a t h e r fr i e n d 's N ew Yo r k a p a r t m e n t i n A p r i l 1983. Shortly after, he began a relationship with Powell, who was instrum e n ta l i n fo ste r i n g h i s fr i e n d s h i p with Warhol. I n Au g u st 1 9 83 , B a s q u i a t m ove d i n to a l oft ow n e d by Wa r h o l a t 5 7 G rea t J o n e s St re et i n N o H o, w h i c h a l s o served as a studio. B a s q u i a t ofte n p a i n te d i n e x p e n s i ve A r m a n i s u i ts a n d wo u l d a p p ea r i n p u b l i c i n t h e s a m e p a i n t- s p l a tte re d c l ot h e s. H e wa s a reg u l a r a t t h e A rea n i g h tc l u b, w h e re h e s o m et i m e s wo r ke d t h e t u r n ta b l e s a s a DJ fo r fu n . H e a l s o p a i n te d m u ra l s fo r t h e Pa l l a d i u m n i g h tc l u b i n N ew Yo r k C i ty. H i s sw i ft r i s e to fa m e wa s cove re d i n t h e m e d i a . H e a p p ea re d o n t h e cove r of t h e Fe b r u a r y 1 0, 1 9 85, i ss u e of T h e N ew Yo r k T i m e s M a ga z i n e i n a fea t u re t i t l e d " N ew A r t , N ew Money: The Marketing of an Americ a n A r t i st". H i s wo r k a p p ea re d i n G Q a n d E s q u i re, a n d h e wa s i n te r v i ewe d fo r M T V 's "A r t B rea k" s eg m e n t . I n 1 9 85, h e wa l ke d t h e r u nway fo r Co m m e d e s G a rço n s S p r i n g fa s h i o n show in New York. In the mid-1980s, Basquiat was earni n g $ 1 . 4 m i l l i o n a yea r a n d h e wa s re ce i v i n g l u m p s u m s of $ 4 0,0 0 0 from art dealers. Despite his success, his emotional instability cont i n u e d to h a u n t h i m . " T h e m o re money Basquiat made, the more para n o i d a n d d e e p l y i nvo l ve d w i t h d r u g s h e b e c a m e," w rote j o u r n a l i st M i c h a e l S h n aye rs o n . B a s q u i a t's co c a i n e u s e b e c a m e s o e xce ss i ve t h a t h e b l ew a h o l e i n h i s n a s a l s e pt u m . A fr i e n d c l a i m e d t h a t B a s q u i a t co nfe ss e d h e wa s o n h e ro i n i n l a te 1 9 8 0. M a ny of h i s p e e rs s p e c u l a te d t h a t h i s d r u g u s e wa s a m ea n s of co p i n g w i t h t h e d e m a n d s of h i s n ew fo u n d fa m e, t h e exploitative nature of the art indust r y, a n d t h e p re ss u re s of b e i n g a b l a c k m a n i n t h e w h i te - d o m i n a te d art world. (Basquiat by Andy Warhol, 1982) 12

BLUTO NERO 1981 Bluto Nero, 1981 C o u r t e s y W h i t n e y M u s e u m o f A m e r i c a n A r t , N e w Yo r k . © T h e E s t a t e o f J e a n - M i c h e l B a s q u i a t . 13

D u r i n g t h e i r re l a t i o n s h i p, G o o d e began snorting heroin with Basquia t s i n ce d r u g s we re a t h e r d i s p o s a l . " H e d i d n' t p u s h i t o n m e, b u t i t wa s j u st t h e re a n d I wa s s o n a ï ve," s h e s a i d . I n l a te 1 9 8 6, s h e s u cce ss fu l l y got h e rs e l f a n d B a s q u i a t i n to a m et h a d o n e p rog ra m i n M a n h a tta n , b u t h e q u i t a fte r t h re e we e ks. Acco rd i n g to G o o d e, h e d i d n' t sta r t i n j e ct i n g h e ro i n u n t i l a fte r s h e e n d e d t h e i r re l a t i o n s h i p. I n t h e l a st 1 8 m o n t h s of h i s l i fe, B a s q u i a t b e c a m e s o m et h i n g of a re c l u s e. H i s co n t i n u e d d r u g u s e i s t h o u g h t to h ave b e e n a way of co p i n g a fte r t h e d ea t h of h i s fr i e n d A n d y Wa r h o l i n February 1987. I n J a n u a r y 1 9 8 8 , B a s q u i a t t rave l e d to Pa r i s fo r h i s e x h i b i t i o n a t t h e Yvon Lambert Gallery and to Düsseld o r f fo r a n e x h i b i t i o n a t t h e H a n s M aye r G a l l e r y. W h i l e i n Pa r i s, h e b e fr i e n d e d I vo r i a n a r t i st O u a tta ra Wa tts. T h e y m a d e p l a n s to t rave l toget h e r to Wa tts' b i r t h p l a ce, Ko r h ogo, t h a t s u m m e r. Fo l l ow i n g h i s e x h i b i t i o n a t t h e Vre j B a g h o o m i a n G a l l e r y i n N ew Yo r k i n A p r i l 1 9 8 8 , B a s q u i a t t rave l e d to M a u i i n J u n e to w i t h d raw fro m d r u g u s e. A fte r ret u r n i n g to N ew Yo r k i n J u l y, B a s q u i a t ra n i n to Ke i t h H a r i n g o n B ro a d way, w h o sta te d t h a t t h i s l a st encounter was the only time Basquia t eve r d i s c u ss e d h i s d r u g p ro b l e m w i t h h i m . G l e n n O' B r i e n a l s o re c a l l e d B a s q u i a t c a l l i n g h i m a n d te l l i n g h i m h e wa s "feeling really good." Despite attempts at sobriety, Basquia t d i e d a t t h e a ge of 2 7 of a h e ro i n ove rd o s e a t h i s h o m e o n G rea t J o n e s St re et i n M a n h a tta n o n Au g u st 1 2 , 1 9 8 8 . H e h a d b e e n fo u n d u n re s p o n s i ve i n h i s b e d ro o m by h i s g i r l fr i e n d Ke l l e I n m a n a n d wa s ta ke n to C a b r i n i M e d i c a l Ce n te r, w h e re h e wa s p ro n o u n ce d d ea d o n arrival. B a s q u i a t i s b u r i e d a t B ro o k l y n's G re e n -Wo o d Ce m ete r y. A p r i va te funeral was held at Frank E. Campb e l l Fu n e ra l C h a p e l o n Au g u st 1 7, 1 9 8 8 . T h e fu n e ra l wa s a tte n d e d by i m m e d i a te fa m i l y a n d c l os e fr i e n d s, i n c l u d i n g Ke i t h H a r i n g, Fra n ce s co Clemente, Glenn O'Brien, and Basquia t's fo r m e r g i r l fr i e n d Pa i ge Powe l l . A r t d ea l e r J e ffre y D e i tc h d e l i ve re d a eulogy. I n m e m o r y of t h e l a te a r t i st , Ke i t h H a r i n g c rea te d t h e p a i n t i n g A P i l e of C row n s fo r J ea n - M i c h e l B a s q u i a t . I n t h e o b i t u a r y H a r i n g w rote fo r Vog u e, h e sta te d : " H e t r u l y c rea te d a l i fet i m e of wo r ks i n te n yea rs. G re e d i l y, we wo n d e r w h a t e l s e h e might have created, what masterp i e ce s we h ave b e e n c h ea te d o u t of by h i s d ea t h , b u t t h e fa ct i s t h a t h e h a s c rea te d e n o u g h wo r k to i n t r i g u e ge n e ra t i o n s to co m e. O n l y now will people begin to understa n d t h e m a g n i t u d e of his contribution". FINAL YEARS & DEATH SO NOW YOU KNOW WHO INSPIRED THE FRONT COVER ART. 14

Tyler, The Creator for GRIND Magazine. ©

TAKE A BREAK NOW (social media is killing us) JayceeYG @ Pinterest.com

5 ZAETA ZAETA ZA ZAETA ZAETA ZA ZAETA ZAETA ZA ZAETA ZAETA ZA from insane graffiti to making the best futuristic designs. new generation on the come up paving the road for the culture's next venture. ARTICLE FEATURING: @ZA3TAG / @BORN.4.DESIGN / @MO.CREATIVITY_LAB / @THEBUTTERFLYKID PHOTO: INSTAGRAM / @ZA 3TAG

18 t h e b oy wea r i n g t h e o rc h i d h o o d i e sta n d i n g n e x t to a g ra ffi t i o n t h e wa l l w h i c h i s h i s i co n i c l ogo/ta g that he calls ( za3ta ), could be translated to “swoosh” in english, signifiy i n g t h e swo o s h e s h e m a ke s w h i l e d o i n g h i s [ p a i n t ] j o b o n t h e l u c ky wall he picked that day. E x c e l i n g i n b ot h t h e d e s i g n & g ra ffi t i a ka “st re et a r t” wo r l d s i t’s a p ro ce ss that too long to being able to manifest it to the masses, from humble b eg i n n i n g s to co l l a b s w i t h va r i o u s profestional designers and visionn a r i e s h e l p e d “ t h e b oy ” s h i n e i n t h e middle of the large west of Algeria . Rebel / Off-Society mentality also were key factors in boosting his confid e n ce i n t h e m i d st of ; c a re l e ss n e ss to a r t , poor education, attent i o n to n ega t i v i v ty, n ot wa n t i n g to a ct u a l l y d o anything. . . t h i s b oy ro s e a b ove t h e s e o u t d a te d e n e rg i e s of h i s s o c i ety a n d c h o s e to c l i m b t h e m o u n ta i n of t h e g rea ts. A l t h o u g h h e n eve r s h owe d h i s fa ce o n t h e g ra m fo r ( we l l , avo i d i n g of b e i n g c a u g h t fo r the nonesense of “Damaging Goverh a s a rea s o n a b l e p o p u l a r i ty o n t h e virtual world, most notibly on instagram were he shares his latest proj e cts, s ketc h e s a n d s n i p p ets of u p co m i n g o n e s, i d ea s a n d p ro m te s h i s c l ot h i n g l i n e u n d e r t h e s a m e tag name zaeta Just like he inspired the guy writing this article on a saturday morni n g a t 6 : 3 3 a m [ e s m u u sta ] , h e a l s o i n s p i re d ot h e rs t h a t a l s o l i ve i n t h e same city and the states surroundi n g i t . W h a t’s i n te re st i n g a b o u t t h e s e * u n d e rg ro u n d * a n d u p co m i n g a r t i sts i s t h e v i b e s t h e y b r i n g w i t h t h e i r pieces, it’s different, it’s fresh , it’s inspiring, m o st of a l l i t’s b u i l d i n g a t ra d i t i o n a n d it’ll last for future generat i o n s w h i c h i s s o m et h i n g to be proud of excited about. @mo.creativity_lab i s o n e p r i m e example to mention in that movement. By delivering excellent poste rs o n a d a i l y b a s i s, st i c k i n g to t h e “ 3 65 d ays” c h a l l e n ge m a d e h i m p u s h h i s l i m i ts a n d e x p l o re n ew m et h o d s i n d o i n g d e s i g n , yet st i l l g ro u n d e d by h i s ro ots w h e n h e fi rst m a d e h i s b a by ste p s i n t h i s fi e l d . b e i n g a we l l c u l t u re d l i ke h i s p e e rs a l l owe d h i m to fi n d co n te n t i d ea s m o re ea s i e r, by ta c k l i n g modern day issues or findi n g n ew co n ce pts fo r v i ra l a r t i sts p ro m ot i n g t h e i r p ro j e cts, e x p l o r i n g ty p og ra p hy w i t h h a n d s- o n e x p e r i e n ce s. POSTER BY @MO.CREATIVITY

Editor's Letter 19 Another peer worth not only ment i o n i n g b u t s h ow i n g g ra t i t u d e i s a o n e b a d d e s i g n e r w h o m i f o b s e r ve d t h o ro u g h l y, yo u ’d sta r t to b e l i eve h e wa s rea l l y B O R N FO R DESIGN[@born.4.design ] , b e i n g h eav i l y v i s u a l l y fe d by Ye a n d A b l o h b u t a l s o having his own percept i o n of w h a t m a ke s a go o d d e s i g n a n d w h a t doesn’t, allowed his creative process to be violent yet intriguing, twisted and horrific yet humb l e d by t h e p a ss i o n a n d a s p i ra t i o n s of t h e s p i r i t that made it. Tra d e m a r k i n g t h e g re e n e ffe ct i n h i s I G Sto r i e s o r Po sts, g ra n te d h i m a s p e c i a l a e st h et i c t h a t’d c re e p u p on the viewer everytime he [ B 4D] posts on the app. Being highly intere sste d i n a r t i st i c d i re ct i n g, m ov i n g to S h o ot i n g V i d e o C l i p s/ F i l m i s n’ t a d i ffi c u l t c h a l l e n ge fo r h i m a n d we have absolutley no doubt in his creat i ve a b i l i t i e s to s u cce e d i n h i s n ew e n d avo u r. One of the nice things that happ e n e d fo r t h e A l ge r i a n c u l t u re i n 202 2 wa s t h e D i s co M a g h re b s o n g and music video. It created a convers a t i o n t h a t h a d to b e m a d e s o m e d ay a b o u t o u r c u l t u re a n d a b o u t fi n d i n g ways to p ro m ote i t to L”ét ra n ge r. W h a t’s i n t re sst i n g i n w h a t DJ SNAKE did was combini n g b ot h wo r l d s t h a t n o o n e t h o u g h t of a way to fo rce t h e m to m e et , yet he still made a Zarna-3robi mixed with House-Techn o s o n g a n d to o k t h e a l ge r i a n s u m m e r to h i m s e l f. T h a t’s t h e m et h o d to l i g h t i n g t h e to rc h fo r a n ew wave a n d c ra c k o p e n s o m e i d i o l og i e s i n o rd e r to l eave w h a t’s u s u a l a n d e x p l o re t h e o u ts i d e of o u r co l l e ct i ve co mfo r t zo n e of w h a t’s a cce pte d s o c i a l l y, a n d n o i t d o e s n’ t m ea n we h ave to go to e x t re m e fo rgett i n g w h a t b i n d s u s a s A ra b s a n d M u s l i m s, b u t we d o h ave t h e a b i l i ty to m a ke i t o u r s u p e r p owe r to ce l e b ra te t h e culture. @DJSNAKE @BORN.4.DESIGN

20 t h e A l ge r i a n d e s i g n s ce n e fi n d s AMINE [@thebutterflykid ] a s a p r i m e e xa m p l e of t h e s a m e m et h o d & vision used by the Fre n c h /A l ge r i a n Dj. [DJ SNAKE ] D o i n g e xce pt i o n a l p o ste r g ra p h i c design by experimenting with different colours within his signature palette, p a c ke d g ra p h i c s w i t h v i s u a l e ffe cts l o o k i n g m o re a p p ea l i n g fo r the observer's eyes and imaginat i o n d r i ve, d i st i n ct ty p og ra p hy of both Arabic and Latin letters. B e s i d e s a l l t h e i m m a c u l a te d eta i l s s h ow n o n a cyc l e b a s i s, t h e m o st i n te re st i n g fa cto r i n t h o s e p ro j e cts i s t h e " Let m e t ra n s l a te t h i s p o p u l a r a l b u m t i t l e to A ra b i c o r J a p a n e s e, g i ve i t my a l te r n a t i ve ve rs i o n fo r t h e cove r a n d p ost i t o n t h e g ra m" idea that [ Amine ] c h o s e to a d a pt i n h i s i n sta g ra m co n te n t c rea t i n g. I p e rs o n a l l y b e l i eve t h i s i s o n e of t h e g rea te st t h i n g s I ' ve s e e n o n t h e p l a tfo r m s i n ce I got o n i t , co m b i n e d with; Zaetag, Mo, BAD and The Butterfly Kid . . . we c a n t r u l y s ay t h a t T h e A l ge r i a n We st- s i d e I s Co o k i n g Something, and it's exciting (asf). POSTER BY @THEBUTTERFLYKID I HATE THE IDEA THAT THERE'RE DESIGNERS IN ALGERIA DESIGNING FOR FREE. AS IF THEY DON'T RESPECT THE FACT THAT THEY ARE ARTISTS TOO" "DESIGN TO ME IS LIKE THAT PLACE YOU GO WHEN YOU DON'T WANT TALK TO PEOPLE IN MOODY DAYS" "EVERY DESIGNER HAS THEIR OWN UNIQUE STYLE TO DELIVER [THEIR] ART, WHETHER IT'S AN IMPRESSION OR A EMOTION TEXTINVIEW FEATURING SECRET DESIGNER NEXT PAGE

(CRIME/DRAMA) 21 I STARTED DESIGNING WITH JUST A PHONE THAT TIME UKNW SHOOTING PICTURES & DOING SOME CHANGES & STUFF & AFTER THIS I FOUND THAT THERE'S SOMETHING CALLED PHOTOSHOP AND I START LEARNING BY WATCHING TUTORIALS IN YOUTUBE AND I DESIGNED MY FIRTS OFFICIAL COVERART FOR A BEATMAKER I GEUSS AND YEH IT'S START LIKE THAT. WHAT HAD GOT YOU INTO DESIGN? I THINK THAT THERE'S LIKE A COMPETITION BETWEEN DESIGNERS TO GO WHO'S THE BEST ONE, & EVERYONE HAVE HIS OWN UNIQUE STYLE ON DOING IT, BUT THERE'S PROBLEMS THAT DESIGNERS IN ALGERIA THEY DON'T TAKE THEIR WORK OR DESIGNS AS AN ART THEY DON'T TREAT IT WELL SO THEY DO SOME WORK FOR FREE WHICH IS A BIG NO, BUT AS I SAY THERE'S MANY TALENTED DESIGNERS & ARTISTS THAT THEY CAN MAKE THE DESIGN WORK A VIRAL THING TO DO IN THIS COUNTRY. WHAT DO YOU THINK ABOUT THE DESIGN MOVEMENT IN ALGERIA AND CAN YOU SEE WAYS IN MAKING BECOME A TREND? YES AS I SAY EVERY DESIGNER HAS HIS OWN UNIQUE STYLE TO DELIVER HIS ART IF IT'S AN IMPRESSION OR A EMOTION, MAYBE MANY PEOPLE WHO SEEN MY DESIGNS SAY THAT IM A BIG FAN OF FUTURISTIC ALIEN GALAXY STUFF OR A CHROME GLASSY & TRENDY DESIGNS, AND I TRY EVERYTIME I DESIGN SOMETHING TO NOT STICK ONTO ONE STYLE, SO I MERGE MANY STYLES IN ONE DESIGN. EVERY DESIGNER HAS HIS OWN APPROACH/STYLE IN DESIGN, TELL US ABOUT YOURS? END OF ARTICLE

20 CREATIVITY ADDING EMOTION EQUALS MORE HUMANE U/rika®@ESMUUSTA

The Catcher In The Rye. (FICTION/YOUNG ADULT) BOOK CHOICE It's Christmas time and Holden Caulfield has just been expelled from yet another school... Fleeing the crooks at Pencey Prep, he pinballs around New York City seeking solace in fleeting encounters—shooting the bull with strangers in dive hotels, wandering alone round Central Park, getting beaten up by pimps and cut down by erstwhile girlfriends. The city is beautiful and terrible, in all its neon loneliness and seedy glamour, its mingled sense of possibility and emptiness. Holden passes through it like a ghost, thinking always of his kid sister Phoebe, the only person who really understands him, and his determination to escape the phonies and find a life of true meaning. The Catcher in the Rye is an all-time classic in coming-of-age literaturean elegy to teenage alienation, capturing the deeply human need for connection and the bewildering sense of loss as we leave childhood behind. J.D. Salinger's (2010–1919) classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read. (source: goodreads.com) 23

“I like it when somebody gets excited about something. It's nice.”

FAMOUS VICTORIA ZSCHOMMLER

With All My Love; My Passion, Attention To Details, Learning and Being an Observer, Aiming To Decipline and Distance Myself from Negativity, Sticking with Just One Fruit... The Sweetest Fruit Out Of The Garden, Assisting and Contributing To The Process of Sucess. Respectfully.

(ISSUE'S DISCUSSION) 27 6 Types of Creative Block (and What to Do About Them) 1 This is where you get trapped by your own thinking. You're so locked into a familiar way of looking at the world that you fail to see other options. You make assumptions and approach a problem from a limiting premise. Or maybe your Inner Critic rears its head and stops you thinking straight. Solution: You need to change your mind. Question your assumptions, ask yourself "What if...?", and adopt different perspectives. Go somewhere new, or read/watch/listen to something new. Talk to people you can rely on to disagree with you, or offer an alternative point of view. You may find creative thinking cards useful, such as Roger von Oech's Whack Pack, Brian Eno's Oblique Strategies or IDEO's Method Cards. The Mental Blockers 2 Creativity can be intense. It's not a comfortable pursuit. Faced with the unknown, you may be scared of what you'll discover or reveal about yourself. Maybe your subject matter is painful, embarrassing or plain weird. Whatever - all of these fears and qualms are just different forms of Resistance, leading to procrastination. Solution: You need to face the worst and come through the other side. There are plenty of things that can help -- such as routine, commitment, and meditation. But ultimately you are going to have to endure the fear, pain, or other unpleasant emotions. It's like getting into a cold swimming pool -- you can dive in head first, or inch your way in. Either way, it's going to be bone-chillingly cold. But once you've got over the initial shock, done a few lengths, and got into the flow of it, you may be surprised to discover how invigorated you feel. The Emotional Barrier 3 Maybe there's no great drama -- you're just trying to work in a way that isn't compatible with your creative process. You work too early, too late, too long, or not long enough. You try to hard or not hard enough. You don't have enough downtime or enough stimulation. Or maybe you haven't set up systems to deal with mundane tasks - email, admin, accounting, etc - so they keep interfering with your real work. Solution: Step back and take a good look at how you're working, and where the pain points are. If it's email, learn a new system for dealing with email. the only standard is whether your work habits work for you. Look for the right balance of routines, systems, and spontaneity for your creativity to thrive. Weak Work Habits by Mark McGuinness — Behance.net

28 4 I'm not just talking about money, although a lack of cash is a perennial problem for creatives. You could also be time-poor, knowledge-poor, have a threadbare network, or be short of equipment or other things you need to get the job done. Solution: Like the last type of block, this one has two possible solutions: either save up the time/money/or other resources you need; or make a virtue of necessity and set yourself the creative challenge of achieving as much as possible within the constraints you have. Poverty (Chill) 5 Sometimes a block comes from having too much, not too little. You've taken on too many commitments, you have too many great ideas, or you're overwhelmed by the sheer volume of incoming demands and information. You feel paralyzed by options and obligations, or simply knackered from working too hard for too long. Solution: It's time to cut down. If you take on too many commitments, start saying 'no'. If you have too many ideas, execute a few and put the rest in a folder labeled 'backburner'. If you suffer from information overload, start blocking off downtime or focused worktime in your schedule. The world won‘t end. Overwhelm 6 Creative blocks can happen between people as well as between the ears. If you work in a team, tensions are inevitable, and can make it hard to do your best work -- especially if you have one of those proverbial 'difficult people' in your working life. Sometimes you get blocked by phantoms -- merely imagining your work being booed by audiences and mauled by the critics. And sometimes this happens for real and you have to deal with it. It could just be a marketing problem -- after years of plugging away at your art with a miniscule audience, you wonder why you bother. Or maybe you just don't have a hotline to the people who matter in your field, so you struggle to land the right opportunities. Solution: This is where creativity blends into communication skills. You need to be adept at understanding and influencing the right people, however difficult or mystifying they may be. Which means beefing up your influencing, marketing, or networking skills. I don't care if you're shy (I was) or introverted (I am). If you want to succeed, you need to do this. And sometimes it's about accepting that you can't please all the people all of the time, and growing a thicker skin for rejection and criticism. Show me a creative who's never suffered a setback or a bad review, and you won't be pointing at a superstar. Weak Work Habits

THE ARTIST new pioneers. ideas. aspirations. vision. enjoy them. support and respect them. expect them too.

THE ARTIST GALLERY c/o Mustapha R. / confusdmind: TRUST THE PROCESS

@born. 4.design *a break in a– BARRIER BRIDGING THE GAP*

@mo.creativity

@thebutterflykid "put your trust in them– and they shall carry the movement"

@za3tag

@azri_artstudio "THROW A STEAK OFF THE ARK TO A POOL FULL OF SHARKS, HE'LL TAKE IT."

@zyoski through @territwar @msiouri_ @digitaloose "LEAVE HIM IN THE WILDERNESS WITH HIS SWORN NEMESIS, HE'LL MAKE IT."

"TAKE THE GRATITUDE FROM HIM, I BET HE'LL SHOW YOU SOMETHING." ALSO SPECIAL THANKS AND POST APPRECIATION TO: @_KIDTESLA @MOSTAFA.DJAFRI @IDER.OTF @VEROX.ART @LLOKA__ @FELMIZ.STUDIO @PAR_AZ_ART @DEFRA_TM @YOKAISET GRACIAS A TODOS POR MOSTRAR SU TALENTO

ARTIST a Prequel to Copy of confusdmind_ limited showcase WINTER_SPRING GALLERY 2020 _daydreamZ_ Magazine CREATIVE BLOCK Issue #1 BASED IN BLIDA, ALGERIA AUG 2022 / JAN 2023 confusdmind: “YEAR 2022 IN DESIGN” Mustapha R. EDITORIAL CHOICES OF FAVORITE; MOVIE!, ARTIST! & BOOK! TO CONCLUDE THE PREVIOUS YEAR.