BABI PUNK MAGAZINE #6a2

Your art revealed

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

ISSUE 6a2

REENACTMENT OF PUNK

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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.

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Malejac Alain Ryan A DZH Michael Van Jean Ocídio CRISTODORESCU DENISA Ayana Kemora Miyoshi Roxana Capris Madas Alexandru-David Carla Timoc Milton Vestbrant Harry Chapman No Face Anca Tintea Boga Patricia

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@Ayana Kemora Miyoshi

BY Martina Civardi

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BABI PUNK

CONTENTS 08 BADJVCK Concerning the environment, I am inspired by the colors of certain films, and countries. I work on several series including

14 ,, SHADOWS,, When I start to do a collage I don't usually start with an exact idea, I choose one photo and then I go

16 AYANA KEMORA MIYOSHI Ayana Kemora Miyoshi is a Japanese-FilipinoAmerican graphic designer and illustrator from Los Angeles, but currently resides in San Francisco

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'NADZEYA PANADZEYA

EXCLUSIVE!

CARLA TIMOC

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23 VIDEO KILLED THE RADIO STAR is a new series that I started with and starring Ana Bob (@ana.gram.log), both series are

CARLA TIMOC

HARRY CHAPMAN

I love experimenting with different types of formats and media, however I have a very soft spot for polaroids and their intimate feeling and process they give a person.

I I guess this photo series was because I needed to do something and work with people again after doing so much work on my own.

Just like dumb photos with fun makeup and editing something that wasn't sad or heavy.

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BABIPUNKMAG@GMAIL.COM

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I took these pictures because I wanted to challenge myself to get out of a creativity block. I wanted to take some unusual photos, something more than the classic portraits i do.

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A L A I N R Y A N B A D J V C K

Concerning the environment, I am inspired by the colors of certain films, and countries. I work on several series including Project 225 where I document the Ivory Coast with a smartphone, my film camera and my digital camera.

It's important for me to show that anything is possible, regardless of cultural background, financial means, etc.

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Malejac Alain Ryan aka Badjvck

The story behind the photos is the people and the environment. I like to take pictures of atypical or common people , to put them in confidence and sublimate them.

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POOL

BY Michael Van

I paint figurative landscapes and interiors in acrylic on canvas. I’ve titled the overarching series “Suspicious Idylls”. It’s my way of describing scenes that casually appear to be idyllic, but with a somber undertone that questions the legitimacy of these joyful moments. At their core they are manifestations and confrontations of some of my own fears and skepticism.

Pool #27 Acrylic on Canvas, 24"x18" 10

IThere is nothing highly conceptual about the works - they are mostly

ARTIST STATEMENT –

observational. My intention is to keep that observation genuine and to evoke emotion. Simplicity, looseness, depth, integrity- these are the feelings I aim for in painting.

Common throughout all of my works is a purposeful selection of lighting. Light - and how it creates depth – interests me visually. The angled lighting and cast shadows are the most important aspect in my selecting photographs to work from.

The composition of values, colors, lines and movement tend to come about organically as the painting progresses – through a sort of quick instinctual process of selecting what stays and what eventually gets painted over. When I look at my own paintings, I get the impression of a layered woodcut print, and that flattening of values and colors with choppy movement. Often my paintings are similarly reductionist in carving out negative space around a foreground object. I don’t use gradients and I typically only use a single size flat brush. I separate objects and planes into two tones, either in the direct light or in shadow. I also minimize color in using a limited palette. This simplification of dimension, value, colors, and stroke is a stylistic choice.

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by Jean Ocídio

. s e i d o b r u o f o y t i l i g a r f e h t w o h s e g a l l o c s i h T . e e s u o y t a h w et a e r c n o it a n i g a m i y m d n a w o l f e h t h t i w og I neht dna otohp eno esoohc I ,aedi tcaxe na htiw trats yllausu t'nod I egalloc a od ot trats I nehW

,, SHADOWS,,

CRISTODORESCU DENISA

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oh s ham it k univ e upo its now erse n th wel s it e l re s lin hea es rse d

-D.M

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@Ayana Kemora Miyoshi 16

Ayana Kemora Miyoshi is a JapaneseFilipino-American graphic designer and illustrator from Los Angeles, but currently resides in San Francisco as a student at California College of the Arts. She works primarily digitally but is also active in collage, printmaking and other multi-media analogue art forms. Her artwork is inspired by the visceral quality of the late 60s and 70s folk and psychedelic music scene, and her experience living and growing up in the urban landscape of Tokyo with exposure to Japan’s contemporary art scene and underground culture from ages nine to sixteen. Her pieces include clean, curvilinear line-work and a keen sense of play in her animated use of color and subject, often depicting personal and emotional experiences with solitude and a loss of cultural identity.

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ROXANA CAPRIS MY NAME IS ROXANA CAPRIS, I’M A 19 YEAR OLD FILMMAKER THAT LIVES IN EDINBURGH. I’M ORIGINALLY FROM BUCHAREST, ROMANIA. I TOOK THESE PICTURES BECAUSE I WANTED TO CHALLENGE MYSELF TO GET OUT OF A CREATIVITY BLOCK. I WANTED TO TAKE SOME UNUSUAL PHOTOS, SOMETHING MORE THAN THE CLASSIC PORTRAITS I DO. I WANTED TO INCLUDE SOME CUTOUTS TO GIVE IT A “COLLAGE” FEEL. SOMETHING ELSE THAT REALLY IMPACTED MY WORK LATELY WAS THE NEED TO USE MYSELF AS THE ONLY PERSON I’M SHOOTING DUE TO COVID RESTRICTIONS IN THE UK. I AM NOT ALLOWED TO HAVE OTHER PEOPLE IN MY APARTMENT SO I HAD TO LEARN TO MODEL FOR MY PICTURES WHILE USING SELF TIMER AND HANGING MY LIGHTS UP ON THE WALL USING TAPE. THIS HELPED ME GET MORE CREATIVE IN THE WAY I TAKE PICTURES, HAVING TO IMPROVISE A LOT. IT ALSO HELPED ME LIKE THE WAY I LOOK MORE AS I GOT BETTER AT POSING

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THE RISE OF INTERNATIONAL of this is to say that this year, more than FILM AND THE CURRENT All any other, my ‘new release’ radar was, and continues to be, filled primarily with international films. Admittedly, I’m already INTERNATIONAL someone who spends most of their time covering long-dead, no longer relevant films STYLE (you know, my usual ‘90s bullshit), so it’s not

like this was too significant of a change for my movie-watching habits; as in, my ‘new release’ radar is far from the majority of my watchlist. Still, with almost an entire year of quarantine under my belt, I thought I’d survey some of the top international films I’ve had the pleasure to see - You Wil Die At Twenty (2020) dir. Amjad Abu Alala, Twilight’s Kiss (2019) dir. Ray Yeung - and ponder, with my usual gravity, what this means for the film industry as a whole.

With the American movie-making industry scrambled by the effects of our prolonged pandemic - whether they be the economic slowing or the artistic stalemate many filmmakers find themselves in - a new spotlight seems to be shining onto the international film industry, which has been increasing in its own right over the past several years. Well, sure, the Golden Globes still found a way to evade this new attention with the really fucking clever semantics of their “Foreign Language Category,” but in general, international filmmaking is gaining an increased foothold in a variety of markets. In the case of independent film in particular, the virtual nonexistence of new independent releases in the States has left arthouse cinemas increasingly dependent on foreign imports; mainstream American releases, meanwhile, have been generally mediocre or completely befuddling, marred by the ever-present depression tint of the COVID conditions in which they were produced.

The first thing that strikes me, from my limited, American view, is how good of a substitute these films are for Hollywood. I mean, sure, that’s arguably a pretty low bar these days, but it used to be that the standard of compelling five-act structure, high production value, naturalistic dialogue, etc. etc. was trademarked as unique to this continent and Western Europe. To see that a film like, say, You Wil Die At Twenty, which is both Alala’s feature-length debut and the first ever (sadly rejected) Oscar submission to come from 20

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EGAYOV • 4 EGAP

Sudan, is at the very least on par with and by many standards way above your average dramatic Hollywood release is a wonderful, wonderful thing. The film is moving, starkly photographed, and handles its incredibly compelling premise well enough to warrant its own special shout-out; not to mention its vibrant voice and breathtaking use of surrealistic tableau cut-ins. Indeed, the polished products of high-value production inputs are becoming more and more accessible across the globe, hopefully heralding a greater foothold for new voices in the currently quite monopolistic entertainment industry.

Flowing immediately out of this realization, however, is a feeling of how badly these international releases must pander to global, Americanized standards.

This is a subset of films largely oriented at Western distribution and the Western festival circuit, and the result is an overwhelmingly similar tendency towards pensive, beautifully photographed, softcore realistic filmmaking. It reminds me horribly of the mumblecore tendencies of American indie filmmaking, its consistent focuses on anti-climactic plot structure and softly-lit cinematography carrying over to the international stage. My personal feelings for the style aside, it’s fascinating how this has become the baseline for international filmmaking,reflecting in a multitude of features from the alreadydiscussed You Wil Die to Twilight’s Kiss, a mumblecore queer romance consisting primarily of slice-of-life interactions and cozily-lit scenes. In this case, at least, the low-key approach of the film has a function, subverting our expectations of bombastic period pieces featuring young, white actors declaring passionate love to one another in pretty verses, but the same cannot be said for every film.

Most upsetting, in my eyes, is the tendency towards ‘anti-resolution’ endings, where the primary conflict of the film is left to be resolved by the passage of time. Even in films that aren’t fully committed to the whole mumblecore bit, there’s a strong tendency towards such easy resolutions, making the entirety of the plot susceptible to feeling incidental and underwhelming. Each of the films on my list, in fact, seems to lean into this tendency at least somewhat.

So what, exactly, is so upsetting to me about this tendency? Other than my personal distaste for the genre’s stylings, it feels like a dampening of the potential for true diversity on the international stage. What good is cultural diversity if it’s showcased primarily as an ornamental feature of the set design, differentiating only which foods the families in Twilight’s Kiss eat or what the setting of You Wil Die At Twenty looks like? This is, of course,an oversimplification, as analysis always is, but it still stands that the power of cultural traditions seems to have been eroded. To put it more succinctly: where is the appreciation for national cultural innovations in the realms of storytelling and artistic technique? Is there even a room for such appreciation in our current cinematic production? In stark opposition to this polished, commercial style was Lili Horvát’s Preparations to be Together for an Unknown Period of Time (2020), an openly gritty and cold story of false love and obsession. With tight compositions filled with deep shadows and grimy Tungsten lighting, the obvious Eastern Bloc influences on the Hungarian Preparations present it as an almost direct visual antithesis to the cozy, sunlit stylings of mumblecore works. Narratively, its attempts at thrilling intrigue still seem to fall into the ‘anti-resolution’ trap, ultimately unable to present a cohesive conflict, but that seems to matter less in the face of its obvious dedication to presenting something unique to the world stage.

The film I truly want to focus on, though, is Philipe Lacôte’s Night of the Kings (2020), a testament to the powers of storytelling, political landscape, heritage, and spirituality. Set in the MACA, a prison with an exceedingly low reputation, the film focuses on the storytelling ritual enacted by the prisoners interned there, melding the reality of prison life with the wonder of the story relayed by Roman, the storyteller. On its basic level, the film is still mainstream enough to make its international mumblecore influences evident, with a sprawling, vaguely anticlimactic plot structure and classical cinematography that earned it a place on the Oscars’ shortlist.

The film is also more than that, however. Its elements of magical realism are more well-developed than in most mumblecore features, committing fully to the world of oral tradition and extraordinary history the film establishes. Even more importantly, its several plot-lines come together with a dynamic synthesis that is uncommon for the straightforward narratives behind these other features, the worlds of the prison, outside world, and imagined history all interacting with and evoking each other. It’s got a compelling kineticism that is wholly unusual to the forced, generalized reality of Twilight’s Kiss, a kineticism that is only furthered by the various art forms encompassed within this film, from song to dance and bodily movement. It’s enough of a distinction to separate the film from the rest of the pack, giving it its own unique voice and style, while still remaining with the parameters of this new international style. All of this is done in support of conveying the importance of oral tradition and storytelling, which is a startling invocation of the very point I’m trying to make; the film does a better job of conveying all of this than I ever could. Much of the dialogue within the film is a story of some sort, including both the primary story of the film - the one recounted by Roman and the chance encounters the protagonist has with a variety of other inmates; locked up within the walls of the prison,the men turn towards one of the fundamental modes of human communication out there storytelling. More specifically, this is a storytelling of distinctly Ivorian characteristics, openly referencing traditions of dance and

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oral history while continuously referring to the political and cultural contexts of the film. The very narrative construction of the film is based on these cultural understandings, making the film fundamentally reliant on these national characteristics. The present wave of new international releases has obviously been shaped within a distinctly Americandominated world; the only thing that has changed, perhaps, is the amount of attention shed on international works. All of these films seem to reference a common, international style, one that has largely been determined by Western preferences over the last decade or so, and true success seems to depend on being able to work within that style while still presenting palatable innovations.

No matter what, I can only hope that, in the wake of the Coronavirus, the film sector will continue to evolve.

With America’s hold on the industry swayed somewhat, perhaps a greater appreciation for a wider mode of narrative and artistic conventions can take hold.

BY A. DZH

VIDEO KILLED THE RADIO STAR IS A NEW SERIES THAT I STARTED WITH AND STARRING ANA BOB (@ANA.GRAM.LOG), BOTH SERIES ARE SHOT ON 35MM FILM ON KODAK EKTAR. 23

My "Beware!" series started after I read Michael Foucault's "The History of Sexuality". I was inspired by his take on the lack of "ars erotica" in the western civilization since the 17th century, at the hands of the suppression of the bourgeoisie (the white fence clearly being a symbol of the upper class). Later on I started to lean more into the faux reality element of my photos.

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Carla Timoc My name is Carla Timoc, I’m a Romanian experimental artist based in Germany recently graduated MA degree from University of Art and Design in Cluj-Napoca.

I love experimenting with different types of formats and media, however I have a very soft spot for polaroids and their intimate feeling and process they give a person. It’s not like those huge prints, you have to seriously get close to a picture in order to fully see it and I like this relationship that forms with the viewer. I started to get curious on ways I can manipulate a polaroid and kept experimenting, and as you can see the results are very pleasing. My polaroids literally contain toilet cleaners and apple cider vinegar. I used whatever I found around the house and I wanted to play with chemistry as well, but we can all agree that the primary element of my polaroids and the most obvious one is nail polish. Yes, you heard that right. Nail polish. The process of creating these polaroids were very fun, from cutting the edges, get in them, cleanse them, and keep pouring substances and materials to taking a picture and preparing them for prints. One thing I should mention is that these pictures represented the immediate reaction of substances. My original polaroids look nothing like the pictures I took 1 Tuesday, 9. March 2021 initially because they kept changing. I have an example of the same picture shoot twice to see a *small* but quite obvious change in them. That’s the beauty of them. They keep changing, just like us, humans.

@CARLATIMOC__

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Creating and being an artist come to me very naturally, however not all the time is easy for me to find a perfect form for my ideas, and that’s why I still say about myself that I’m an experimental artist. I love creating intimate art, that has an autobiographical touch, I like focusing on mental health, on human condition, on trying to find the root of each problem and maybe one day a solution.

www.carlatimoc.com

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''GRÅZON '' My name is Milton Vestbrant, I'm just about to turn 23 and I live and work in Sweden.

This project I have been working on has not really been a project up untill just a little while ago. I've been trying to make photographs for some years now and it has been a very intuitive approach from the very start. I have been giving this project the title ''Gråzon'' In english it's ''Greyzone''. The photographs are ment to be purely subjective for the viewer. The work isn't about something specific it's more about a sort of atmosphere and a state of mind. Id like the photographs to just be a place you could kind of sink in to and let different emotions pass through.

My private experiences and feelings becomes a sort of gasoline to drive me to make more work.

If something really difficult happens in my private life I use the camera in different ways to photograph what I am feeling. By approaching photography that way I can see that I am able to make more unique pictures and they feel more real.

I have exposed myself to life the past years and some really sad things happend to me during that time. Those experiences is really what drives me now to make work that feels true to me.

I began making art just for that reason, I wanted to find a place where I could put in my feelings and experiences.

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By Milton Vestbrant

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I GUESS THIS PHOTO SERIES WAS BECAUSE I NEEDED TO DO SOMETHING AND WORK WITH PEOPLE AGAIN AFTER DOING SO MUCH WORK ON MY OWN. JUST LIKE DUMB PHOTOS WITH FUN MAKEUP AND EDITING SOMETHING THAT WASN'T SAD OR HEAVY. I GUESS IT FEELS A LITTLE COVID-Y WITH THE CLEAR FACE MASK, AND I THINK THAT THE IMAGE OF THE FACE MASK HAS BEEN A WAY FOR PEOPLE WITH RELATIVELY MORE PRIVILEGE TO USE THEM AS A FASHION ITEM. SO I GUESS IF YOU WANT TO READ INTO IT, I FELT COMPLICIT AS SOMEONE WHO DOESN'T HAVE TO WEAR MASKS FOR SURVIVAL AND HOW IT FEEDS INTO MY GENERAL ANXIETIES. MODEL: @_J.OSHUA ON INSTA MAKEUP: @MAKEUPBYWAITE / @KATIETOOKTHESE_ 30

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Temporary Landscapes:

BY Anca Tintea It was interesting for me to explore through print, the idea of old factory buildings in a post-communist era, their status changing from staples in the industrial economy of a country to becoming disposable commodities waiting to be traded on the market.

The series includes about 40 prints.

What became Temporary Landscapes is a series of analog to digital back and forth experiments.

At first, I wanted to explore the material and aesthetic changes an image goes through, but the project ended up evolving into a more conceptual one. It started from film, to print, to digital and as a final step, the images were printed onto receipt paper.

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BY Boga Patricia

TWINS.

Vol.4 Issue 4 27 Dec. 2020 Cover Image Pedro Hernandez o.w. Editor o.w Deputy Editor Teodoran e.T. Senior Editors Executive Art Director

Submissions BABIPUNKMAG@GMAILCOM

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31. March.2021 babipunkmag.com