The issue includes an exclusive interview with artist Olafur Eliasson, a conversation between musician and producer Baba Stilitz and author Natasha Stagg, a special feature by artist and bread maker Lexie Smith, and an interview with Carole Baskin, star of the first lockdown favorite Tiger King, and more.
Read our interview with both Frida and Nora about Nuda:Terra.
Have you personally connected differently to nature over the last year? What kept you going during the pandemic?
F: I mean lately not so much. It’s winter, lockdown and in Stockholm, we’ve seen the sun twice since the beginning of November. But I think that’s why we are longing.
N: The pandemic has put us in cages in a way, and we want to break free and be wild again. In general, I think many people have turned to nature during the pandemic. Outside has been safe, and we have been wanting to get away from big crowds, into the sort of refuge that nature can bring. I think th pandemic also made us look differently at our society. Slowly we felt that a lot of the securities we had were breaking down in front of us and I think it made us urge more independence instead of interdependence. I think moving closer to nature is a call for that independence, where you, in theory at least, don’t have to rely on society for stuff such as food or supplies.
F: Generally I think this longing for nature, or making bread and kombucha comes from us realizing that we live in a society that makes us more and more dependent and incapable of taking care of ourselves, and seeing that society failing us, being unfair or collapsing in different ways.
What are ways to feel closer to nature/the earth, if you live in a big city?
N: Maybe this idea about the binary city/nature is a bit faulty to begin with. I once made an interview with the artist Tomas Saraceno who made me acknowledge the house spiders in my flat as a part of nature that we should embrace. We are always in nature, there is no way to remove it – and that idea could maybe make us realize a lot of what is going on in cities, such as crazy consumption and building nature away is a bit fucked. Just looking at the sun I think can connect you with nature.
Which plants do you keep in your apartment?
F: Only immortals. Neither of us are especially interested in plants to be honest.
N: We embrace nature in other ways, such as giving in for instincts and pleasure.
What are your must-see documentaries about the climate-change?
F: I loved My Octopus Teacher on Netflix, about a filmmaker who befriends a wild octopus in the South African Kelp forest. It’s perhaps not climate-change in the wildfire and melting glaciers way, but about the fragility of life and humanity’s connection with nature. Supercute.
For which positive outcomes from the pandemic do you hope? Do you think the pandemic will change our habits in the long term? How?
F: I hope the pandemic made us more innovative in creating small worlds for ourselves that still feel fulfilling, even imaginative such. Hopefully, when we couldn’t look and grow outwards, we did so inwards insead, and I believe that could be just as rewarding.
N: My new year’s resolution is ‘don’t wait’ – because it feels like this year has been a lot of just unnecessary waiting for something else. You are where you are and you can always do or make something that you enjoy from that point, even if it’s just to read a book or learn to do the splits or whatever. Probably everybody will come out of lockdown like totally socially awkward since the social skills haven’t been practiced for a while now. Do you even remember how to approach somebody you don’t know anymore?
Baba Stilitz said in his interview: „Nowadays it’s so much about the aesthetic of things to the point where the actual content of culture seems irrelevant“. What are your opinions on that?
F: I agree very much so. We consume culture as pure “aesthetics” through quick scrolling of our Pinterest or Instagram feeds. It’s fun and cute, but it’s high carb eye candy. There is a high demand for image material due to the visual nature of social media, but it also becomes watered down when you lose the framing ideas behind different looks and aesthetics.
N: Nuda’s aim is to question shallow aesthetics, with the idea that beauty and thought should always come together. Context is as important and intriguing and I think we all yearn for some meaning beyond trend and visual pleasure. Capitalism made culture shallow and broke it down to mere essentials, and we want to instead nurture our curiosity and search for answers to the existential dilemmas that hunt every human being that is not completely braindead and numb.
Which things have to be considered making a successful independent print product these days?
F: Firstly, consider not doing it. If you can consider doing something else, do that. If not, be stubborn.
How did the idea come about to bring out books rather than conventional magazines?
F: We work with each issue for months, and then sell that issue for about a year. That means that we can’t cover news or trends, in the same way as a daily, weekly or monthly publication. It reflects the content a lot, we try to make publications that will be just as interesting to read today as a few years from now. We wanted that timelessness to be reflected in the physical product, to be objects fit to be kept for a long time. So much content is free online, so just selling content is pointless.
The last issue Beyond was about Space, this one about Earth, which worlds do you want to explore next?
N: We’ve been up in the blue, landed down on earth, the next step is to come even closer to home.