BABI PUNK MAGZINE #6A3 by BABI PUNK MAGAZINE

Your art revealed

Exclusive works received from all around the world put together for encouraging freedom of thought, choice, and love. ISSUE 6a3

REENACTMENT OF PUNK

1202 hcraM 13 6# eussi

BABI P U N K

BABIPUNKMAG@GMAIL.COM

Our project is defined by... YOU

You are the reason why our magazine exists: so stick around and send us any of your creations. This is the place for you not to be judged. Your art will be published along with some of our hard-worked articles to make sure that you and your art will get 100% exposure. Don't forget that we are still a small crew, so it's essential to have patience until we post your work. With your help, we are sure to grow respectfully.

Still interested? Get your work done, and send us an email.

our focus CURRENTLY, WE ARE FOCUSING ON PROMOTING MAINLY: GRAPHIC DESIGN, PHOTOGRAPHY, FASHION, PAINTINGS, MUSICIANS, ETC.

Experience 2020

Our publishing project has begun in 2020, based on the need of making worldwide artrecognized.

We publish monthly, receiving submissions from 1st to 25th of that month.

We are digital based and recently we started printing our zines.

based WE ARE BASED IN EUROPE BUT WE TRY TO MAKE OUR MAG AS INTERNATIONAL AS POSSIBLE.

S I HT

T I STS

NTH A O R

BRUJAN CRISTIAN STEAN Nick M. A DZH Rutendo Sanganza Frederique Evans-Jeanrenaud Mateo Omar Rose Wharton Alizarchik Milena Amina Teodoru Yvonne Halfens Alix Perrin Audrey Jeamart Nicole Sung Frances Bukovsk Karin Majoka

BABI PUNK B A B I

MAGAZINE

P U N K

@Touristonthisworld

by Frances BukovskY

BABI P

UNK

CONTENTS 08 TOURISTONTHISWORL

I started the “Touristonthisworld” account because in the end, we all have one life, so in this case, no matter where we go or what we do, we are tourists on that very moment. Saying this

13 HEIST

I took these photos with my younger brothers (15 & 17). Just part of our many photo projects we do out of boredom . I used just a set

16 SHY GIRL

In a way, the edited monstrous heads and limbs hold as much erotic power as their bodies do, in that the dark and alien side of them is made visible, and yet it doesn’t repulse us, or at least it

'FUNFAIR:

YVONNE HALFENS

“NOBODY WANTS TO BE LONELY” 19 “PREPARATIONS” like to catch The moment when they are revealing their true self. i’m not hiding behind a fake smie

23 SELF BURNOUT Burn-out is a syndrome conceptualized as resulting from chronic workplace stress that has not been successfully managed. It is characterized by three dimensions:

“ALWAYS”

VESSEL

I create images as an intimate exploration of my lived experience of chronic illness. I am drawn to documenting family ties, my relationship with living spaces, and my own body. As a result, I create bodies of work that discuss interdependence and

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05 MARCH 2021 | ISSUE #6

N 4

polaroid nostalgia RMC ORREEA TP ENT LBAANRIREY O N IUVBEL T A J W , E IDSIH N O RIEN / R T CGT R N A A ODR F IR AS T I /E D S ISL

era many people never experienced - and yet the emotion is universally recalled. This idea of a false nostalgia was the catalyst behind destroying, and then replacing, pieces of the Polaroid image. If the nostalgia is going to be fake, might as well make the memories fake. 10

E ,OJLEIRG OSSAHNUNTA KO I Y/OR OI LVD MR O Y

provide instant nostalgia to an

D I/T S

SECD H I TW O ARL IM A L ,G A

back to an irretrievable time.They

GE RE IPNH RGA NGA AO MT

Polaroids, to me, are an escape

TTRTI D BU A T U IGN HG T PRHY O

BY Nick M.

SDOI T SE A ATR SE T LIEV I LR WE

DIIR L A R TED AA TO E CRTIO ITGEIST S N D NRC O N M I /HFI EL K C RE FA N N AI N / CW V R /F IN AE Y DR YN O TN CA

HEIS

NOVEMBER 2019 ISSUE NO 201 $100.00

@RUTENDO SANGANZA

HE IST

I TOOK THESE PHOTOS WITH MY YOUNGER BROTHERS (15 & 17). JUST PART OF OUR MANY PHOTO PROJECTS WE DO OUT OF BOREDOM . I USED JUST A SET OF LED STRIP LIGHTS AND A COLOURED LIGHT BULB TO GET THAT DUAL COLOURED EFFECT. I ORIGINALLY DIDN’T KNOW WHAT TO TITLE THESE PHOTOS UNTIL MY YOUNGER BROTHER SUGGESTED THAT THEY REMINDED HIM OF A HEIST MOVIE, ACCORDING TO HIM; THE WARDROBE OF MY MODELS SETS THAT KIND OF CINEMATIC EFFECT.

‘AREA CLOSED’

35mm in-camera double-exposed negatives.

‘Area Closed’ features a series of 35mm incamera double-exposed negatives, with digital colour adjustment. The series documents the fenced-off parks and playgrounds, restricted areas, wrapped outdoor gym equipment and overgrown public spaces as a result of the strict Lockdown regulations during the 2020 and 2021 Corona Virus Pandemic.

At the heights of the pandemic, London’s councils encourage social distancing by restricting access to communal outdoor areas. A physical enforcement of the daily limitations we now face and a reminder of the basic freedoms that had been taken for granted before March 2020.

Observing London under Lockdown has been unique. I explored regularly with my bike and my cameras as if discovering an entirely new city, documenting everything with fresh eyes. Aside from all the limitations, I found a new kind of freedom in the stillness; the air was clearer, there was little to no noise pollution and the birds sang. Places that once were so full of life were empty and almost unrecognisable. The silence demonstrates the scale of our situation and the striking effect of a national Lockdow @freddieej_photo @freddieej_film Freddieej.com

By Frederique EvansJeanrenaud 15

SHY GIRL In a way, the edited monstrous heads and limbs hold as much erotic power as their bodies do, in that the dark and alien side of them is made visible, and yet it doesn’t repulse us, or at least it isn’t meant to, quite the contrary. 16

mes excuses officier, i wasn*t expecting company After half a year of having artist’s block, I finally had a moment where I just started editing old photos, and I liked what came out. I analyzed what I liked about them and I realized the basis of my new art involves: the human form, arachnid and insect forms, use of colors, typefaces, and an air of eroticism at times. Using old photos I’d taken of my friends, I wanted to induce an altered state of our perception of human beings. In a way, the edited monstrous heads and limbs hold as much erotic power as their bodies do, in that the dark and alien side of them is made visible, and yet it doesn’t repulse us, or at least it isn’t meant to, quite the contrary.

BY Mateo Omar

)skrow_wer@( notrahW esoR YB

I LIKE TO CATCH THE MOMENT WHEN THEY ARE REVEALING THEIR TRUE SELF. I’M NOT HIDING BEHIND A FAKE SMILE

“PREPARATIONS” ALIZARCHIK MILENA

GEAR. AND THAT’S WHAT MAKES EVERY PICTURE IN FILM PRECIOUS AND VALUABLE FOR ME ...BECAUSE IT TAKES TIME AND EFFORT TO REVEAL ITSELF

“MARLBORO” JUST STANDING IN MY STREET.

@pro100milena

burn-out

SELF BURNOUT

burn-out

feelings of energy depletion or exhaustion

the creativity issue featuring

Amina Teodoru Burn-out is a syndrome conceptualized as resulting from chronic workplace stress that has not been successfully managed. It is characterized by three dimensions: feelings of energy depletion or exhaustion; increased mental distance from one's job, or feelings of negativism or cynicism related to one's job; 22

the creativity issue

Story behind artwork

For this project i wanted to create the concept of selfburnout. The state of mind in which someone is getting completely overwhelmed by its own thoughts and feelings, instead of unmanageable stress from work, that eventually will lead to selfexhaustion too. Creating a space for the mind that allows all feeling to be shown and felt through the image of a burning candle.

“ALWAYS” 2020. CERAMICS, TWIGGS. HEIGHT 20CM

.EM NIHTIW DLROW EHT DNA EM DNUORA DLROW EHT NO STNEMMOC EVIG DNA ETACINUMMOC I YAW EHT S'TI .YTISSECEN FO TUO TRA EKAM I

“Nobody wants to be lonely”

2020. Ceramics, twiggs. Height 25 cm

With my sculptures, I think about life. Making a sculpture is like writing a poem. Especially when working on small sculptures in clay it doesn't take any kind of preparation and I can just start and let things evolve. For example, the first three sculptures I made during an artist-in-residence in Portugal called "Obras". They just pruned the very beautiful old cork oak trees so there were a lot of branches laying around. The idea of bringing them back to life in another form and recycle these branches and twigs inspired me to make these little sculptures. "Always", is about the fact that you always carry your past (or ancestors) along with you in one way or another. It can hinder you or you can benefit from it. Although this is more or less the motivation for this work for me, someone else may see something completely different. That's the beauty of art, the meaning is in the eyes of the beholder. Although I started out some time ago with more abstract sculptures I now focus on the human figure. It gives me huge opportunities to tell something about human existence. Mostly these figures are not realistic but more metaphoric or like embodied moods. They are a result of my search for something human or perhaps the denial of it. I search through form, material, and my hands. Together they make a sculpture. Something on the boundary between the inside and the outside, between what is public and what is private. And the figure can act as a physical presence that gives access to inner life. The "Reiterstandbild" is made as an answer to the worshiping of heroes. There is a lot to say on the worshiping of heroes around the world in statues. They are mostly a presentation of masculinity, strength, wealth, and war. My sculpture seeks the opposite. I am more interested in the failure, the incomplete, and therefore the human.

BY YVONNE HALFENS 27

Vegetal constellations @ALIX_PERRIN_PHOTO BY ALIX PERRIN

My photographic work is inspired by nature. The nature that surrounds me, the vegan. I am very touched by the work of landartistes, it is a great source of inspiration for me. A pholosophy close to mine that favors the work of living collection.For this work I used an ancient photography technique, cyanotype. The plant leaves its mark on a powerful blue monochrome. The abstraction of these images is the result of chemical inputs during the drying of the cynotype. The added elements react with the photographic product and create constellations on the photograph

@Audrey Jeamart

I create faces and scenes from bits of torn paper and sometimes vegetal pieces. I imagine a new unity from fragments. Free shapes gather to write stories beyond the genuine image. The collage named "Long call distance" has been made for Cov'Art, a french artistic collective promoting art during the periods of lockdown. For the second lockdown I decided to create collages including elements gathered outside, during a walk.

“

PRE

—

”*

MORTEM

GNUS ELOCIN 30

VESSEL a lens based artist born and raised in Springfield Center, NY.

I CREATE IMAGES AS AN INTIMATE EXPLORATION OF MY LIVED EXPERIENCE OF CHRONIC ILLNESS. I AM DRAWN TO DOCUMENTING FAMILY TIES, MY RELATIONSHIP WITH LIVING SPACES, AND MY OWN BODY. AS A RESULT, I CREATE BODIES OF WORK THAT DISCUSS INTERDEPENDENCE AND FAMILIAL HEALTH, THE SAFETY AND CHALLENGE OF ISOLATION, AND HOW ILLNESS HAS IMPACTED MY RELATIONSHIP WITH MYSELF. THROUGH SELF PORTRAITURE, BOTH USING A TRADITIONAL LENS AND PERSONAL DIAGNOSTIC MEDICAL IMAGES, I EXAMINE MY OWN BODY AND LIFE WITH PROFOUND CARE AND RECLAIM THE POWER OF THOSE IMAGES FROM THE OFTEN TRAUMATIC CIRCUMSTANCES IN WHICH THEY WERE MADE.I USE TECHNIQUES SUCH AS LUMEN PRINTING AND ANTHOTYPES WITH NEGATIVES MADE FROM MRI AND ULTRASOUND SCANS TO OFFER A STRAIGHTFORWARD DOCUMENTATION OF ILLNESS TO BE PAIRED WITH MATERIALS FROM MY EXTERNAL ENVIRONMENT.

THESE PRINTS OF MY ANATOMY INSPIRE DISCUSSIONS ABOUT THE ROLE OF PRIVACY IN DISABILITY AND MEDICAL CARE. IN ADDITION TO POINTING THE CAMERA TOWARD MY BODY, I MAKE IMAGES OF FAMILY RELATIONSHIPS AND THE MOMENTS WHERE ILLNESS MAKES ITSELF VISUALLY APPARENT. I PRESENT THESE IMAGES AS A NUANCED VIEW OF CHRONIC ILLNESS THAT GOES BEYOND COMMON PERCEPTIONS OF SICKNESS TO DEMONSTRATE THE DAY TO DAY IMPACT OF SYMPTOMS. I DOCUMENT MY OWN EXPERIENCES WITH CHRONIC ILLNESS TO COMMUNICATE THE COMPLEXITIES OF LIVING INSIDE CURRENT SOCIETAL STRUCTURES WHILE MANAGING MULTIPLE INCURABLE DISEASES. THIS DISCOURSE ALLOWS FOR LARGER CONVERSATIONS AROUND HEALTH AND ACCESSIBILITY BOTH ON AN INDIVIDUAL AND COLLECTIVE SCALE.

THE WEEKLY EARTHLING KNOWLEDGE IS POWER

BY FRANCES BUKOVSKY

funfair: SOME MORE INFO ABOUT MY WORK AND ME: MY NAME IS KARIN MAJOKA, I AM 27 YEARS OLD AND BASED IN GERMANY. AS MY MAIN PROFESSION I WORK AS A PSYCHOLOGIST BUT ALWAYS HAD A HUGE PASSION FOR ART AND PHOTOGRAPHY. I try not to see different artistic media as distinct but try to see the linkages between them and see if there are ways to translate one into the other. This is also what I did when shooting at the funfair: I experimented with longer exposures and blurry motion to get a more painterly quality to the images

BY Karin Majoka

@karinmajoka

www.karinmajoka.com

All of the shots were taken with my Bronica ETRSi either using Fuji Pro400H or expired Kodak Portra 160VC 34

fun fair

ETERNAL SUNSHINE OF THE SPOTLESS MIND: WHAT THE AUDIENCE REALLY WANTS Early Charlie Kaufman was a master. What David Foster Wallace did for postmodernism, Nirvana did for ‘90s indie, what I do for film analysis (kidding, I know I don’t “do” much of anything at all; I’m not quite that deluded) - that is what Kaufman did for his own certain brand of meta-textual existentialism. He popularized existentialism, pop- packaging it for the masses, and I say that with the highest fucking level of admiration, because that certainly isn’t an easy task. I mean, listen, Charlie and I, we’ve butted heads before. I’m not a huge fan of the shameless self-destruction of his later works, or even the pretentious big-mindedness of a lot of his earlier stuff, but I can’t deny that this guy’s got something going for him; he better have, after all, being one of the most famous writer-directors out there and all. Our petty squabbles aside, you’ve gotta admit that he’s a hell of a writer, his scripts just folding together like one of those incredibly satisfying trick puzzle boxes, all interlocking wooden pieces and hidden joints. I can confidently say that no one does selfreferential mindfuckery better than Kaufman, and that is no easy feat at all. Let me step back, just a little bit, to draw attention to a prime example and, unsurprisingly,

the subject of this essay: Eternal Sunshine of the Spotless Mind (2004). Gaining a wide release, the film did incredibly well in the box-office, hitting over $8 million on its opening weekend and eventually gaining more than $70 million worldwide. It’s received critical acclaim as well as a positive audience response, all only boosted, of course, by the star-studded cast, catching Kate Winslet, Jim Carrey, Kirsten, Dunst, Mark Ruffalo, and even a hellishly young Elijah Wood. They are, however, likely the main, if not only, draw: Michael Gondry is hardly that much of a household name (sorry, Gondry), and there’s nothing else to separate this film from mediocrity. Nothing, that is, except for the script. Which is, admittedly, a pretty big deal. I mean, in a certain way, the entire movie is the script, you know, despite what most directors would have you think. For this film especially, however, it’s Kaufman’s writing that really makes it as good as it is. That, and Kate Winslet’s stunning dyed hair, of course. The film begins ordinarily (read: linearly) enough, with what seems to be a simple meet-cute between Carrey and Winslet. It’s pretty long, and only mediocrely cute, and honestly incredibly forgettable - I could hardly tell you what happens. I think a bus ride is involved? - a fact only acknowledged by the film’s credits finally coming in, just around the 15- or 20-minute mark, to let you know that that was all just one long fucking cold open. 36

Just like that, gone is the Carrey-Winslet romcom love story, as Kaufman soon dives into the true substance of the film: the gradual erasing of Carrey’s painful memories of Winslet, a rash reaction on his part to their break-up and Winslet’s decision to have undergone the same operation. Here, truly, is the majority of the film, occupying the entire middle third or so. And here’s what’s so beautiful about it: it’s entirely non-narrative. Let me tell you, boy was I overjoyed when I found out that this wasn’t just a love story, but a love story that’s been chopped up into pieces and all scrambled up and rearranged, mapped onto the cranium of the film’s protagonist. For the next, what, 40? 45? maybe even 60 0r 70? minutes, the audience is thrown into a ride of pure freeassociation, dipping from memory to memory on a pure joyride. The closest resemblance to plot is the presence of the honestly forgettable b-plot and Carrey himself, but even his emotions and intentions seem to bounce wildly from scene to scene, at least in the first half. It’s a miracle in and of itself, a mastery of thematic association tempered with emotional journey, for both Carrey and the audience. In all honesty, it’s a miracle, too, that so many people are willing to stomach this.

looking people stare deeply into each other’s eyes. We don’t care if it’s chopped up and turned all inside out, because it’s a story we know beat-by-beat regardless; who needs sequential order when it’s something as age-old as two celebrities falling in love? And it’s telling, of course, that the only way to get an audience to sit through an entire hour of bastard nonnarrative is that same emotional appeal. We’re romantic suckers, every one of us, in one way or another.

No, really, especially when Kaufman gets extra heavy-handed with his references to Nietzche and meta plot layerings (with the real world interacting with Carrey’s psyche in double ways, through both past memory and present b-plot bullshit, as well as Carrey’s own evolving emotions to the memories he is witnessing), would the majority of the audience really want to stomach all of this? Not that I love to commodify so, but would $70 million dollars worth of people really all be on board with this much obnoxious philosophizing? Evidently, the answer is yes. And there, right there, is Kaufman’s genius: he manages to make ordinary people care about his own highly individualized, dense, absolutely fucking obnoxious, self-referencing, meta-textualizing, selfinvolved writing.

The really wonderful thing about Eternal Sunshine, the thing that really makes it into the overwhelming, emotional hit that it is, is less evident, however. The film’s true emotional axis rests on the connection between Carrey and Winslet, that much has always been plain as day. To be more precise, the main emotional pull depends on Carrey’s love for Winslet, and his growing realization that he isn’t ready to let her go. As much as the audience may have been on the side of their love from the start, neither of them are such sympathetic characters, and their relationship certainly doesn’t always seem to be that ideal after all: it’s messy, disjointed, and honestly I personally believed that they were just damn wrong for each other. I’m in the minority on that one, I know, but at times I swear I didn’t understand why they were together at all. Hell, if I had that little chemistry with someone when I first met them - I’m referencing the forgettable opening bus ride scene - I would have given up in about 5 seconds, no joke.

Second question, then, is why do so many people care about this film, care enough to throw so many star actors at it pre-production and rave about it so much in theaters post-, above any of Kaufman’s others? The answer, again, is simple: it’s a love story, as so many of these things are. No matter what, the majority audience will always love to see two good37

D Z H

B Y

A .

B Y

D Z H

The power of the film exists outside of its own narrative... And yet, all of that aside, I still cried at the end.

increasingly grasping at the one thing that makes

Absolutely, totally, completely, just straight up

sense to us - our desire to see more of Winslet. It’s

bawled, and it wasn’t just because of how lonely I

actually a very ingenious play on the hold

am. Do you know how many romance movies I’ve

traditional romantic narratives have over our

cried at? Because I could count it on just a few

society, and Kaufman, that smug bastard, managed

fingers, and this film somehow made the cut. Even if

to pull it off.

I thought Carrey and Winslet were probably better off being single forever, I still hated to see them go.

The power of the film exists outside of its own narrative, embodied within the construction and

The true power here, as such, is that mysterious

perception of the script itself. It’s a true meta-

force, which is made ever stronger by the script’s

emotional punch of an entirely extraordinary sort; it

own construction and the love story it revolves

can be likened to some of Kaufman’s other works,

around. To put it simply, the audience is placed

where the very construction of the script is also

directly into Carrey’s shoes: we watch Winslet

meant to put the audience in the protagonist’s

disappear, from memory to memory, making us long

shoes, but never to such a devastating, romantic

for her alongside Carrey. We are thrown into the

effect. In short, it’s an absolute testament to the

roiling, nonnarrative confusion of Carrey’s

power of audience manipulation and popular

subconscious and, just like him, we find ourselves

scriptwriting and, of course, to the irrational hold love has over us. 38

Vol.6 Issue 6 31 March 2021 Cover Image Mateo Omar o.w. Editor o.w Deputy Editor Teodoran e.T. Senior Editors Executive Art Director

Submissions BABIPUNKMAG@GMAILCOM