The new special Toilet Paper edition, in collaboration with British artist-photographer Miles Aldridge.
Following the success of
ToiletMartin PaperParr and
ToiletAlex PaperPrager,
ToiletMiles PaperAldridge is the third magazine collaboration from Toiletpaper duo Maurizio Cattelan and Pierpaolo Ferrari.
British photographer Miles Aldridge has developed an editorial style that is both couture and chromatic but also surreal. He is influenced by the films of Federico Fellini and David Lynch and the photography of Richard Avedon, as well as the album covers and book designs created by his father, Alan Aldridge.
As one of Aldridge's own inspirations, David Lynch, once said of his work: "Miles sees a color-coordinated, graphically pure, hard-edged reality." This latest issue of Toiletpaper sequences a selection of Aldridge's glamorous and elaborate mise-en-scène images in a palette of vibrant acidic hues.
Miles Aldridge (born 1964 in London) is a fashion photographer known worldwide for his singular style of glamorous, surreal, saturated photography, sophisticated staging and cinematic atmospheres. A regular contributor to the Italian edition of Vogue, he has also published in Numéro, Paradis, Citizen K, The New York Times and The New Yorker.
Toilet Paper is an artists' magazine created and produced by
Maurizio
Cattelan and photographer
Pierpaolo Ferrari (
Le
Dictateur), born out of a passion or obsession they both
cultivate: images. Following in the wake of Cattelan's cult publication
Permanent Food, the
magazine contains no text; each picture springs from an idea, often simple,
and through a complex orchestration of people it becomes the materialization
of the artists' mental outbursts. Since the first issue, in 2010,
Toilet
Paper has created a world that displays ambiguous
narratives and a troubling imagination. It combines the vernacular of
commercial
photography with twisted narrative tableaux and surrealistic
imagery. The result is a publication that is itself a work of art which,
through its accessible form as a magazine, and through its wide
distribution, challenges the limits of the contemporary art economy.
