Image 1 of 1
Editor’s Letter:
In 1981 my mum applied for a mortgage. She had saved $20,000 of the $22,000 required for the apartment she wanted (back when the price of a house was a knowable and fixed commodity). The bank turned her down because she was a woman alone, and the risk was too great. None of her male family members were able to act as guarantor, so she went to England and bought a Louis Vuitton bag.
One of my most hyped Instagram stories this year was an image of a tweet by someone called @bloodskinteeth that had been screenshot and shared by Dasha Nekrasova (indie darling, podcaster, and occasional actress in everyone’s favourite money-drama, Succession) which had then proceeded to do the rounds with cool minor celebrities and many of my art girls across the globe. Each time, someone would screenshot the story with the poster’s name overlaid with their own, creating a vast and morphing chain of very sexy people who all shared the same belief—that “a woman with no drivers licence is the closest we can get to a real life angel.”
The internet is full of hyperboles. Instagram is full of solidarity, and occasional spite. B*tches will be b*tches, but will we ever be able to drive? The structures that support us all are built on shifting sands. APPARATUS begins to think about home, transience, machines, the ways that people try to organise our bodies and our environments; and what is left when we try to break free.
— Becky Hemus Editor-in-Chief July 2022
Issue 03 preview
FEATURE: Otherwise-image-worlds, curated by Tendai Mutambu including animation artworks by Danielle Brathwaite-Shirley, Juliet Carpenter, Tanu Gago, Ary Jansen and Sorawit Songsataya
Text by Connie Brown, shoot styled by Franca Chase and photographed by Agustín Farias and Matt Hurley
Lap of Luxury
Ming Ranginui interviewed by Hana Pera Aoake
Hide and Seek
Lorene Taurerewa, by Danae Ripley
As told by the artist
Daniel John Corbett Sanders
Thank you to our advertising partners
