AARH magazine issue 4

A ARH ISSUE 4 FEBRUARY 2017

Lars Nordstrรถm | Katia Bรกthor y | Alessandra Pace & Fausto Serafini Johann Br yggman | MITIK AFE

A A R H M AGA Z I N E – I S S U E F O U R

A ARH ISSUE 4 FEBRUARY 2017

AARH Magazine is: Theis Kellberg Jess Porse Clemmensen

Find us here: aarh.dk facebook.com/aarhdk flickr.com/groups/aarhmagazine

Cover photo by Johan Br yggman

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TA B L E O F C O N T E N T S – F E B R UA RY 2 017

4– Lars Nordström

16– Katia Báthory

26– Alessandra Pace and Fausto Serafini

40– Johan Bryggman

52– MITIKAFE

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L ARS NORDSTRÖM

L ARS NORDSTRÖM w w w. l a r s n o r d s t r o m a r t . c o m w w w. f l i c k r. c o m / p h o t o s / l a r s n o r d s t r o m h t t p s : / / w w w. f a c e b o o k . c o m / l a r s . n o r d s t r o m . 3

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L ARS NORDSTRÖM

Can you tell me about the titles you give your images?

I try to let the titles be fairly open for inter­ pretation and they may have the ability to add new levels for the viewer. I often think conceptual. Sometimes my titles works as a counterpoint to what´s seen, somtimes with a comic twist.

Can you talk about style and how your photographic sensibility has changed since first picking up a camera?

In the beginning the images was more about out there, now it´s more about the inner space. I have come to terms with my short­ comings as an artist as well as my gifts. I have realized that my images tend to have a flatness in perspective and nothing special happens, e­ xcept the life of the dead things and the play in composition. Well, that´s something! I seek the beauty in what may not be the most obvious.

I let the silence speak and the dullness sing.

I didn´t have that awareness when I took my first photos.

There is an interesting tension in your pictures. Between the aesthet­ ically pleasing elements in light and tones and the slightly disturbing places you photograph.

I s t h i s t e n s i o n s o m e t h i n g y o u d e l i b e r­ ately seek out or is it something dif­ ferent you look for in your pictures?

This may be the core in my aesthetics. I love art history and all beautiful things, but for me it doesn´t work making another image of a beautiful landscape or interior. I enjoy the challenge in finding beauty in the dirt so to speak. Playing with chance and chaos and things not meant to be beautiful inter­ ests me. I guess this also reflect something deeper according to the situation in the world right now, and what things and places I tend to identify myself with.

Can you tell me about your inspira­ tions? Do you have favourite books, websites or photographers?

I am a film buff. My favourite film is Barry Lyndon by Stanley Kubrick. I love the sense of time and the wonderful locations and lighting.

I pay a lot of attention to space and cine­m a­ tography when I watch a film.

Andrei Tarkovsky is another inspiration in that respect. And of course H ­ itchcock´s Rear ­W indow. Simple and intricate at the same time. The same can be said about Tintin, a cartoon with a lot of resemblances to Hitch­ cock´s ­a esthetics.

I love the linie claire style and care about ­d etails.

When I think about it there´s a dynamic be­ tween realism and abstraction in my work.

I am quite enthusiastic about everyday de­ tails, crap and worn things, and how I can use them building up stories and form, cre­ ate some kind of clarity or line claire in what at first sight may seem like total chaos.

I also found a lot of inspiration in art history.

The classics as well as modern stuff. Real­ ism and abstraction.

If I should put it down in one word I think timelessness is what attracts me most.

I’m curious about your creative pro­ cess. How do you create your images?

What mindset do you have and how do you physically and mentally move about?

Hello there! I prefer work in a casual way, shoot handheld and walk around in a quite spontaneous way. I move like a street pho­ tographer but when I find something worth photographing I slow down and the process becomes more of how a painter would do. I am rather careful about the composition and light when shooting. Photography is as much as anything else also a therapy for me, bringing happiness.

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A conversation piece

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Essentials

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Cluedo 3

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L ARS NORDSTRÖM

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Siesta

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L ARS NORDSTRÖM

To d a y ’s s h o w

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AARH magazine

2017

Katia Báthor y — Pictures on film —

www.instagram.com/k.bathory/

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Katia Báthory

“The creative process ­b egins before grabbing the camera and shooting.

If you think about it, you start “creating” as soon as you first feel the inspiration growing fast as well as the need of capture the image together with the emotions.

According to me, all starts with an impression, the strong emotion that will later appear on the screen, after a quick selfshot or a sequence of manual shots.

Afterwards, I choose the one­, or the ones, I ­consider more appropriate, more representative, and the best I can work on. That is how, filter by filter, using not the professional software, I try to transfer the same evoking emotion from myself to the others.

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I really like to emphasize the mysticism of the atmosphere and make everything seem as surreal as possible, as if it were a dream, a fragment of view stuck in the mind.

I love cold filters, noise and high contrast. These are three peculiarities that characterize my shots.

I try to be careful about every detail and I create according to my personal tastes, without following any particular rule, I am not a professional after all.

I take my greatest inspirations by looking outside my window, admiring the astonishing Gran Sasso mountain, which is the main subject of most of my photos, which are feasible only with a good zoom in this case.

Katia BĂĄthory

Inspiration comes from everything surrounding it as well, from the sky to the clouds, the underlying hills and the perpetual winter-fog, typical of this area and which I love so much.

On the other hand, everything changes when I am the subject of my shots. In that case my current and personal feelings are all that matters, all I feel in that precise moment overlaps a neutral background, where I never show my face entirely.

For these shots, inspiration comes just from myself.

everybody and this is a great satisfaction, for me it is like a little win.

Obviously the social network world is mainly amusement and I like to share with the outside world what I am and what I love. I feel at ease there, I feel acknowledged and appreciated in my tiny virtual world.

I think I will keep doing so as I have always done, publishing pictures which are emotionally important for me and with an underlying meaning, all born from an important f leeting thought. “

Every time I upload one of my photos on a social network it is like if I were testing myself, and unavoidably I get emotions.

I have always received positive feedbacks from 19

Katia Bรกthory

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Alessandro Ruggieri & Fausto Serafini

a collaboration between alessandra pace

w w w.i n s t ag ra m .c o m /_ a l e s s a n d ra p ac e _ /

and

w w w.i n s t ag ra m .c o m / fau s to.s e raf i ni /

fausto serafini 28

AARH magazine

Alessandro Ruggieri & Fausto Serafini

Yo u a r e w o r k i n g w i t h y o u r h u s b a n d , c a n y o u tell me how that happened and how you collaborate?

We are a husband wife team photogra-

do us apart! Our

p h e r s f ro m I t a l y. We a re t h at k i n d o f

is “Girls, girls, girls” where we por-

second main project

lovers that live in symbiosis, we fell

t r a y g i r l s , v e r y ­c o m f o r t a b l e i n s h o w i n g

in love about 12 years ago, and since

their own body and sensuality free

t h e n w e ’ v e a l w a y s w o r k e d t­ o g e t h e r .

from any prejudice, we are interested

Before, we ran an electro-punk dis-

in capturing their different personal-

copub, and now we are focusing only

ities, that is why we love to portray

o n p h o to g ra p hy. We s t a r te d t a k i n g

t h e m , w h e n i s ­p o s s i b l e , a t t h e i r p l a c e .

p h o t o s 4 y e a r s a g o , a s a h o b by, b u t

We love and feel comfortable in that

n o w p h o t o ­g r a p h y i s s o m e t h i n g w e

intimacy that we can have in a home

can’t live without! Our most project

­a t m o s p h e r e .

is a diary about our intimate life, “Ho

friends, people and everything is cool

Te ” t h a t i s i n t e n d e d t o l a s t t i l l d e a t h

according to us!

We also love shooting

C o nt i n u e s ->

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Alessandro Ruggieri & Fausto Serafini

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Alessandro Ruggieri & Fausto Serafini

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Alessandro Ruggieri & Fausto Serafini

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Alessandro Ruggieri & Fausto Serafini

Can you talk about your medium, film. What is about film that you like and how does this fit with the way you work?

At the beginning of our photography

never exactly know the result, and this

path, even if we started on film, we

mystery aura let be everything more

also used digital camera to experi-

interesting and exciting. Also the slow

ment and improve our technique and

times of developing rolls and scan-

our eye. But we can definitely affirm

ning play an important role, the wait

that there is no comparison between

emphasized everything, and the final

film and digital. Digital photography

result has an added value. We love

is so perfect, flat and detached, film

every imperfection that let the picture

i s a b o u t m a g i c a n d q u a n t u m . Yo u c a n

be so unique.

I am also curious about your sources of inspiration?

Our main source of inspiration is our music and cinematographic 80 -9 0’s background.

What are your roles in the process? I mean how does the concept evolve and what is the practical process around your shoots?

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We are both emotive and instinctive

if there is something she doesn’t feel

photographers, so after arranging ba-

comfortable to do in front of the cam-

s i c d e t a i l s t o g e t h e r, l i ke a s l o c a t i o n ,

era. We try to find a match between

outfit and mood, we start shooting as

us and sometimes happens that there

it comes. We start going around the

is no match and so we decide to don’t

girl,

go on with the project. When we meet

switching each other and playing

w i t h f o r n i t u r e , w a l l p a p e r, w i n d o w s , o b -

the girl for the shooting, the first part

jects, everything we have available in

of the day is spent for talking, have

that moment, and obviously in combi-

l u n c h t o g e t h e r, l i s t e n t o s o m e m u s i c ,

n at i o n w i t h t h e gir l ’s b o d y. A b o u t t h e

so when we start working we already

girl, what is really important for us, is

h a v e a s o r t o f i n t i m a c y w i t h t h e h e r.

e s t a b l i s h i n g a c o n n e c t i o n w i t h h e r. S o

This connection becomes deeper after

w e t r y t o k n o w h e r b e t t e r, w r i t i n g t o

the shooting, cause there is always a

her before we meet, in whatsapp con-

exchange of experience and emotions

versation group, in which we usually

between us and the girl. This is a link

talk about ourselves, about the way

that is not easy to say in words, but

we work in our shootings, asking her

t h a t c o n n e c t s u s t o h e r f o r e v e r.

AARH magazine

Alessandro Ruggieri & Fausto Serafini

a noitaroballoc neewteb ardnassela ecap dna otsuaf inifares 35

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n a m g g y r B n a h o J Johan Bryggman Johan Bryggman n a m g g y r B n a Joh Johan Bryggman flickr.com/photos/105702979@N08/ instagram.com/johanbr yggman/

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Johan Br yggman

Ok, I’m gonna star t with a question that maybe a little weird, but what do you take pictures of ? And what do you not take pictures of ?

I don’t have any clear rules or guidelines regarding what, and what not to take pic­ tures of. Most are ver y spontaneous and based on a sor t of snapshot aesthetic s.

A couple of years ago I wrote an ar tist statement with a line that said “My im­ ager y of ten concern the tension between vegetation and man made objects, the absurdity of ever yday life and fractions of time past”. I think this still applies to this day.

How impor tant is time and place to you, do you have a favourite place to photo­ graph or time?

Can you talk about the impor tance of the camera, is there a ghost in the machine?

Well I don’t know about ghosts but there is absolutely “something” with cer tain cameras. A camera can change the way I take pictures. For example, even though my Leica Minilux and Olympus Mju II are similar in size and function I have a dif ferent mindset when I put the camera in my pocket. It’s as if I produce com­ positionally better and thought through images with the Leica than with the Mju II, which give more spontaneous results.

Both of which have their strengths, and weaknesses.

Like many others before me, I have been guilty of GAS over the years but I’ve come to realize that for me it’s more about what format suits the purpose and keeping my lens choice consistent.

It depends. Mostly not. If I already have a picture in my head before I go out, then time is super impor tant and I tr y avoid direct sun as best I can. I really like going out before the sun rises in the morning to mix a more classical landscape approach to photography with the contemporar y snapshot aesthetic s.

Time of day is also an interesting aspect where I live. During the winter months we have days where the sun never reaches above the horizon. You can go to work in the morning in darkness, never to see the light during the day. And at the end of the work day the sun has already set well before it’s time to go home.

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MITIKAFE MITIKAFE instagram.com/mitikafe/ m it i k a fe.t u mbl r.com / f l i c k r. c o m / p h o t o s / 3 9 9 9 5 6 6 3 @ N 0 7/

Can you introduce yourself?

I’m a 21 years old girl from Italy.

I discovered photography at 13 and started doing photography some years later. I spend most of my time doing photos and searching for ideas, things, clothes, mirrors.

To me your images live in an interesting place between art and fashion. Can you talk about inspirations and goals?

I’m passionate about fashion and art since i was very young.

To me art and fashion are very similiar , i don’t separate them.

A lot of people consider fashion a different and more commercial part of art and others don’t consider fashion art at all.

I think that you can do fashion and art photography at the same time. When i photograph i’m interested in colors , form and beauty. I think that there is the same idea of perfection in art and fashion. Obviously i’m talking about some type of fashion that tries to give a different sense of beauty that is more near to art and life.

My inspiration come from everything. I love cinema,

literature, art, internet. In particular i take inspiration from performance art, fashion show, video art and photography of different artists. Life and reality are important too. For the ­future i hope to create more photographs and carry forward my ideas. There are a lot of photographs in my mind that I want to make reality. I’d like to create another world full of colors, lights and mirrors.

Can you talk about the way you work? Do you have a concept before shooting or do you let things happen at the set?

It depends from the situation.

Each set, each idea and each person i photograph is different. Sometimes i have concepts and i start photograph trying to reach these ideas but i love to let things happen on set. It’s interesting to see what can happen and what you can create without a clear idea. Everytime i shoot with a person or alone (most of my photos are selfportrait) there is a different atmosphere that is useful to imagine new photographs.

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