Welcome dear reader, to a new issue of Hobo. You’ll hopefully notice a change as we decided to create a much bigger magazine, one wherein the artwork and texts truly come to life. I’ve always liked the idea of an exceptionally large magazine, a supple book with a nod to the Whole Earth Catalogue. Something of a folly then, which, rolled up, will stick out of your backback like an easel. It has to be impractical to carry around but you do so anyway because it’s romantic, it’s called Hobo, and art, like photography and writing, needs to be physically experienced and interacted with. I’m sure Frédéric Beigbeder would agree.
It’s also a pivotal issue due to who’s in it. Tilda is a major creative influence, an intellectual, and like reading Pauline Kael’s essays, it’s almost as much fun reading her reflections on Only Lovers Left Alive (and for that matter Stephen Scobie’s thoughts on Inside Llewyn Davis) than it is to watch the films themselves. I’m thrilled that Tilda was photographed by the brilliant artist Juergen Teller who I also believe to be the most important fashion photographer of his generation. Travelling from Scotland or Tangiers with a suitcase full of books, Tilda came to meet us in the Bois de Boulogne at dawn one very cold morning in March. Crazily, she’s barefoot in one photo and that was her idea. I met Norman twelve years ago when he helped me shoot Asia Argento for our second cover, all in the same wild and serendipitous afternoon. Life goes on, Norman hasn’t changed – he’s as original – I like him as much as I did then, and we’ve magically come full circle.
As you may know, Hobo started in British Columbia; we wanted to bring your attention to some of the world’s last wild wolves who are either being hunted out of unjustified hatred and ignorance, or losing their home – the wild sanctuaries they’ve kept for thousands of years – to clear cut logging and potentially very devastingly, to a pipeline cutting through the Great Bear Rainforest. Please dive in and read this pure, firsthand account by Ian McAllister. Clearly, as wolves disappear, so does the nature they represent and that we all depend on for spiritual nourishment and physical sustenance.
So despite the physical changes, Hobo is more than ever about artists, films, travels, wild nature and animals. We remain on the side of the outsiders, the dreamers, those who don’t play the obvious game, and continue to feel very much like a ginger cat named Ulysses, watching in wonder as he travels by subway farther and further away from his home, seeing the names of the stations go by.
[Text by Shawn Dogimont]