NoGli no.2

NoGli

Edition no. 2 Oktober 2012

Editorial entry Who is what and what is our idea... and we are starting to roll NoGLi is a platform for experimentation. Ideas, images and works that often lay dormant in the metaphorical drawers or just want to see the light of day once again...

With this issue we have three artist for you and the introudction of theater to NoGli.

All typed out on an oversensitive keyboard and translated in the late night hours since it seems that that is where my days have gone to. Oh well, as long as it get’s the work done rigth.

But once again, enjoy this issue and more will come.

Contents Heinrich by Robbert Thijsen pg. 4 Piece of a Proces by Femke Panhuyzen

I Wonder by BS Szűcs

pg. 8

Und Heinrich by Robbert Thijsen

pg. 18

Het P1-Tarief by Sarah Evers

pg. 20

Random Footage by Balázs Szűcs

pg. 28

The Notebook by BS Szűcs

pg. 32

Auf Wiedersehen Heinrich by Robbert Thijsen

pg. 34

The Contributors

pg. 36

pg. 16

How to sign on: Since the goal of this e-zine is to become a platform for artistic experimentation and the publishing of (not necessarily) dormant works our goal is to make application as easy as possible. Besides there is also the dependence on contributors for the coming issues.

Send an e-mail with personal info and the material you want to get published to: info@baseart.kodexconsulting.com or join on Facebook: BaSe Art and Photography About intelectuall property in the issues - All the images, writings and created content that are published in this belong to their respectful author and are stated next to the title of their articles.

- No materials will be used without the permission of their owner.

- No materials will be published in their final form without the approval of the owner of the affected materials, unless prior arrangements are made concerning the use of those materials.

Heinrich by Robbert Thijsen I think Heinrich would be delighted to see the pictures of his wonderful visits to be displayed in this way. Even though he doesn’t exhibit any narcicistic qualities, he is proud to have come this far and show you the efforts of his adventure.

If you happen to see him, please take kind upon his request to freely picture him in the way you want, in front of his objects of desire.

piece of a proces

by Femke Panhuyzen

with photographs of BS SzĹącs

Maybe I am a translator of autonomous art to illustration. I put a feeling or experience over to a drawing or other art form.

What I want in my work is to show facial expressions, strong female bodies and indefinable aggressive scratches, strokes and splashes. Women’s Rugby is an inspirational source for me where I get a lot of my creative ideas.

The following photographs are pieces of a closed performance and serve as a visual study for further processing.

And the next phase

I wonder...

by

BS Szűcs

Sometimes I just wonder about things that I want to have answered. But before I can just bump it out, I need more questions to get to a better understanding of the matter.

The articles, or to be more precise, the bequestionings that will follow in this series is just to lay out my mind before you. That what I wonder about, and I will not give the answers to what I maybe have come in the meantime...

at least, not yet.

...About Consequences of a Photograph...

Currently, I picked up once again John Steinbeck and Robert Capa’s book: Russian Journal.

Quite early on they describe the situation that people in Russia are quite uneasy about the camera of Capa. For this the explanation comes that it is one of the most dangerous weapons existing. Every bombing, every assault is precedented by a photograph. May it be the aerial photograph that is needed for target briefing to spies and scouts. The camera is a harbinger of doom for a lot of people in a war environment.

And this made me wonder, next to my own experiences with what the consequences can be of photographs. This to both sides of the lens. As an image taken at the “wrong” time for the subject can put them in a vulnerable spot. With this the position of the photographer can become quite vulnerable. In the situation of Capa, it was the fear for a physical attack (declaration of war) from America. In some of my own personal cases it was the protection of identity or proof of involvement that was the delicate question of the photographs that I could have made (or have lying around).

The consequences of even one photograph can be quite grave if it is from the wrong subject - and as I told it does go both ways. From the loss of a contract/contact to getting into al legal process or physical assault and not to speak of the social consequences of a publication.

But what happens if the photographs get out of the control of the photographer. If the receiver of the photographs, for example is less conscious off these possible consequences, what happens then? Especially if the photographer is contractually bound to deliver the footage?

...and a more fleshy business But to take on a lighter turn. I also wonder about the same thing, but from a different angel. If you haven’t noticed, there is some nudity in this issue.

This, in some quirky way I found quite a challenge in the past to publish...openly that is. As some of the readers know, I have used my self as a model quite often in the past and probably will do in the future. But a lot of them still lay dormant in the labyrinth that I call my Archive. This is not per SE that I am shy about it. Or maybe I still am and just project it on my selective audience.

But that is what I am trying to head towards. Selective audience.

- What is the way that we can publish work that we feel sensitive about, let it be that we know that it can be seen as inappropriate by others?

- Should we just push it out trough all means, as it is a part of my body (of work)?

- Should there be a distinction between material for “all ages” and “adult content”?

- Is it for me to sort out the material that I publish or is it for the audience to decide if they want to see it?

- Is there a difference between completely open publishing (web) and closed publishing (print) in this mater?

- Should I actually give a rat’s ass about all this and treat them as any other photograph that I take?

If you find answers for yourself and would like to share these with me or the world, send an e-mail to: info@baseart.kodexconsulting.com and it will get out one way or another.

Und Heinrich by Robbert Thijsen

Het P1-Tarief by Sarah Evers BS: Yes, the first and big question, who are you?

S: I’m Sarah. And I am a theater maker, but sometimes I say that I’m more a player of theatrics. I also do act, teach, write and build decors. Ultimately I create theater through all of it. But right now, I just got out of the filter and can search wide again. If you want to know more about me, other than the theater, then I’m just a girl who comes from Almelo. With a sober mind from Twente.

BS: The last piece from you that is known to us, is the P1-Tarief. What is it about?

S: That’s the most wonderful question, but it has the most cheesy artistic answer: what do you think it is about? It is a piece that started almost from nothing. We had the characters and the notion of the Bermuda Triangle, where everything just disappears. As if everything that comes along reaches a point where it no longer matters, that it’s gone. For this came the symbolic location of a parking lot. This became “P1” in the end.

BS: You have three characters, how would you characterize them?

S: Because I wanted to balance that triangle, I generalized. The rest came from the three players in the rehearsals, based on improvisations and what they associated with them. We have the guilty, Lucas, who has been in jail, is very strong, has lots of talk and wisdom. The innocent one is Pieter, who has virtually no life experience and always follow the rules. Then the labile, Alexey, who had a nervous breakdown and simply joins in with the others, but without any real commitment.

BS: The text has a fair amount of philosophical elements and regularly flies with them off the track. Do you want to show a vision with this or criticize something?

S: Yes, it’s very philosophical, more than I ever was actually. I wanted an effect that makes someone feel like he briefly entered another world.

In this I had a lot of help from Tommy Ventvogels. The text itself is just about commenting, just being angry. This is partly because I did not necessarily want to deliver criticism on something, but because I feel that I just have to be heard. Like many other people feel that they always have to be heard, even when they do not have something interesting to say.

BS: How did the characters end up in the lot anyway?

S: They ended up in that place by their own stagnation and they could just go away, there is clearly an exit sign in that parking lot. But they simply have nothing else and they find support in each other. Then a new impulse comes, the innocent boy: Pieter. He participated in a game, but was put in a abandoned car where he had to wait there for a code, that was never meant to come. Lucas found and stole the car for Alexey ,as a birthday present, oblivious of it’s passenger.

BS: This still does puzzle me. What was it with chocolate, that wanted to be an explosive.

S: You have a parking lot and with three loiterers. There will be mischief! I believe Jeffrey, who plays Alexey, had the idea to throw a bomb to the audience. But we had to figure out how to do it, because you can not work with fire in the theater. Besides this, we always ate Milky Ways. So we thought, what if we act like that is the bomb. This way it would remain an anti-climax. But that’s it, just brats with an anticlimax.

BS: What happens to them after the fall of the curtain?

S: I was continuously looking for what you would not expect. The moment when the pillar explodes, that’s a climax, but then you can see immediately that it is a piece of decor. I like that. That’s no real parking lot, is just a stage. The search for the edge between reality and stage.

So what happens? It can happen that a relationship forms, that they blow the entire parking lot up. Maybe one of them awakes, and it was a dream (or nightmare). There is no clear ending to this. Everything is possible, even a P1.2.

BS: Do you have some other things to tell about the piece?

S: What might be important to know: music played a big role. To take the audience into the atmosphere of P1, I found music really important. The music works subconsciously. If you look at something and you hear music, then at some point you no longer hear the music while it is still effecting you and that what you perceive.

BS: Thank you for your time and piece of mind. On the following pages we have some highlights from the script of “Het P1-Tarief” for our readers to enjoy.

Het P1-tarief

director: Sarah Evers

‘Alexey’: Jeffrey Tomberg ‘Lucas’ : Fokke Baarssen ‘Pieter’ : Tom Strik From Scene 2: LUCAS Ah en nu moet ik eerst een parabel vertellen; Een groepje mannen poept in een donkere grot. Ze weten niet dat er buiten een zon schijnt. Het enige licht dat ze kennen is het flakkerende vlammetje van een paar kaarsen die ze nodig hebben om te zien wat ze doen.

ALEXEY Hoe komen ze aan die kaarsen?

LUCAS Nou ja, laten we nou aannemen dat ze die hebben.

ALEXEY Jájá, ze zitten bij kaarslicht in een grot te poepen terwijl buiten het daglicht flikkert. Dat klinkt niet erg geloofwaardig. En het zal wel stinken in die grot.

LUCAS Neem dat nou gewoon even aan. Ze poepen in de grot onder het genot van wat schaduwspel. Na een tijdje ruiken ze geen stank meer, daar worden ze immuun voor.

ALEXEY Oké oké, maar wat wil je daar nu mee zeggen?

LUCAS En dan, op een goede dag, wandelt een van de grotbewoners de grot uit en aanschouwt de buitenwereld.

ALEXEY De buitenwereld. In al haar helderheid. En FRISSE lucht.

En hij probeert het de anderen te vertellen en ze geloven hem niet.

LUCAS Nou, nee. Hij vertelt het niet aan de anderen.

ALEXEY Niet?

LUCAS Nee. Hij rent een open veld in, vindt het wiel uit en gaat dan op datzelfde open veld wielrennen. En overlijdt dan op zijn 42e aan een hersenbloeding.

ALEXEY Die is uit de bocht gevlogen zeg. .

A hint from Scence 4: ALEXEY Vanaf NU ben ik een codewoord: De Alexey-code. Dit hier is het Lucas-Mysterie MET een mee-loop Complex. En jij bent?

PIETER Pieter.

LUCAS De levensgenieter. Doet aan zelfontplooiing of wordt dat jou aan gedaan? Vanzelfontplooiing voor de liefhebber?

PIETER Eh ja zoiets. Iets met balans en een heldere lucht enzo.

LUCAS Luchtdrukverplaatsing. Volle kracht door de voorruit. Nou jongen, je bent in het lage druk gebied beland. Wat hier binnenkomt, komt er onmiddellijk weer uit via ontlasting, belasting of als totale verrassing.

ALEXEY Zoals in een grot met kaarsen en poepen.

PIETER Sorry?

ALEXEY Geeft niks. Ik ben jarig.

ALEXEY Ah ah ah en nu wil jij zeker paardrijden?

That came from Scene 6

From Scene 7: PIETER Laatst vroeg een oude zwaar bejaarde vrouw me ‘moet je geen baan zoeken?’ Wat zal ik daar vinden? Vraag ik beleefd.

Maar dan ook echt beleefd. Oprecht.

Niet bij de hand of bij de neus-nemend.

Ik ben benieuwd. Waar heeft het u gebracht? Die banen?

Ik ben benieuwd. Oprecht.

Maar dan ook echt benieuwd.

Ik volg de zwaar bejaarde vrouw. Haar baan.

Ik merk dat ik vertraag en mijn hart rustiger klopt, alsof ik niet meer 220 trek maar 110 ofziets.

Ik rem af, neem de buitenbaan achter haar aan.

Ze kijkt af en toe om en ik kijk zo vriendelijk mogelijk, maar benieuwd, waar ze naar toe gaat. Oprecht.

Na een jaar of zes stopt het volgen omdat ze nu al een anderhalve week dood is.

Het begint te stinken.

Er zijn vliegen in de huiskamer die niet van buiten komen maar van binnenuit.

Ik ben weggelopen.

And to finish it of: Scene 9 VROUW Sorry, kan een van jullie misschien kleingeld wisselen voor de parkeerautomaat?

Drie milky ways, drie mannen, een vrouw een totale black out en dan wat leuke pompende muziek

They postponed the saving of the World

Random Footage by

BS SzĹącs

Pious Lunch or Dinner

Is this a hedgehog?

The absurdity of two halves torn apart by an outside force

The Notebooks

by BS Szűcs

short and long writings from the ragged notebooks

a Ride home - Pt.1 “Leaving again... on the bus!”

After missing my flight and a huge scramble through the financial system of the Hungarian “on the street” banking system we had to come to the conclusion that we were stuck for the moment...

In the end we managed to get hold of a ticket for an euro-lines ride all the way all to the fair city of Utrecht. We had to order it twice, almost trice. After our first encounter with the street banks called pedestrians we now encountered internet banking. But luckily we could get customer service at 9 in the evening. But we got the ticket in the end, a quick one too. Just a 21:30 hours ride.

Oh, we don’t want to go back. But nevertheless, we are a few days further. I finished up and packed the last of the things. And we made it!

Even though we almost lost the ticket in the final seconds. But it was just a few meters back laying on the pavement. So no problem there. But one thing more grave was the fact that we didn’t have any beer. No Beer.

We had some sweets and stuff, but no Beer. It is Friday...Budapest...180 HUF for a keg...and I wanted a beer before leaving. But nevertheless, we were standing there by the check in with just 15 minutes to spare and a hell of a Queue. But apparently the line that was reserved for my ride was hidden behind a pillar without clear markings. But screw it, we got the check in card and scurried over to the bus, after losing and finding my ticket on that 50m walk. 6 minutes before take off...My big bag was fed in to the belly of the white whale. So, I climbed aboard and sat my ass down next to a sympathetic window. As we rode through Budapest to get to the highway I once again realized how much I love this city... and that it really has some fine lady’s in there. So after this emotional farewell my attention went back to the stand-up comedy that was buzzing in my ears. And oh for fucks sake, there is still 21:20 hours to go!

Győr – First stop. {I wanted to put a (period) there for some reasons} At this point I realized that just a few days ago I already have ended up here in the middle of the night. At that time I had no idea where we were exactly, just that we were not in the right direction, because the only one who knew the route was hanging there by a fence trying to puke, in t seemed that they would fill the bus to the rim. But it seems everybody brought an entourage of fake passengers who stayed behind and walked away after a while. But what is that...oh no, a mommy with two small girls did get on the bus. Do I have to pee? But I survived this round without gaining a neighbor. Once again the engine started roaring, or at least we went to a state of moving once again. The city is interesting though. Classicist buildings and heavy industrial vibe with a hint of urban decay. Worth returning to, as to so many things.

After a bunch of jokes and scenarios further we neared the Final Hungarian stop – Moson - “10 minutes”. If nothing else, I managed to pick up a can. Arany Ászok. Beer. My final beer before crossing the border. It is Friday and we are leaving.

Yeah, a guy needs his sentiments some times and while the sun started to set behind the beautiful scenery of high way traffic and windmills, I -shiss- my beer open and sat my self down on the curb. Golden state with the golden brew.

But time is up, so Bottoms Up! Good Bye and Love ya All! At 18:13 {day time not travel time} we arrived in Austria. This is not bad if you consider we left at 15:30 from Budapest. OH crappadoodle, at least I’m getting some writing done. Speaking of that, let’s give you an account of what happened in the past few days, and especially the obscenity of Thursday...

“On the Boat, or yacht if you please”

The gig was up, the girls would arrive Thursday morning and the shoot would run from friday till sunday. We had a prep meeting a day in advance with the “organizers”. The plans apparently changed even before the hectic part began. So I spent the majority of that day waiting to plan everything out. The problem was that they had a business meeting on the side that had a higher priority apparently. Luckily I had a woman to keep me company. She worked for the shop I think, but we were the only company at the moment for each other. She had a daughter of 16 up somewhere. But the funny thing is that by the end of the day I made her blush simply by a misplaced comment in a different conversation. But to not get to far adrift, after a while the meeting finally happened. They came with the idea to go down to the Balaton lake and start with a photo shoot on a boat on thursday. Great idea. It’s not that I’m not flexible, but it is an extra day and the girls arrive just a few hours before hand with the bus, from a far corner of Romania. Oh, well. Ride out!

The boat was arranged by “teddy”. Or at least that was what his license plate said. Apparently he had a career in politics and law. But that doesn’t matter, he was a money man. He was one half of the organization, or at least as far as he was interested in it. But it isn’t of more importance right here than to sketch a scene.

So the girls arrived at 8 in the morning and I would be picked up at 10 in the center of Budapest. At that point it became apparent that from the original two girls for the photo shoot, it became now 3. After the first stop it became apparent that they will multiply even further. We had two girls in the back and in the rest of our convoy there were three more. This “convoy” consisted of us, a shabby little speedster with just 3 pistons working fully out of the four, “teddy” with a Mercedes and another in that range. So, we fell behind so now and then with just an approximate idea where we had to be. The girls were actually not stressed about this, they were sleeping. 18 hours in a bus does tend to do that to you. At that same stop I became a shooter from New York with all the tinkers and bells that go with it. This was always the fun part of almost every job that I had, the sudden promotion that I make from a life artist-photog-artist-whatever I do that can be validated to a hot shot whatever they need.

Auf Wiedersehen Heinrich

by Robbert Thijsen

The contributors FEmke Panhuyzen A young artist who uses woman rugby as visual symbolism to represent female power in her pen dravings and prints. femke.panhuyzen@gmail.com

Sarah Evers A teather maker from Almelo. Fresh graduate from Utrecht and on the road for an exploration of the arts. sarahelisabeth.evers@gmail.com

Robbert Thijsen Sensitive imagery all the way from Limburg, but with a sense of humor and love of life. Currently he is a student Documentary Photography in Utrecht. www.robbertthijssen.com

BS SzĹącs Staff photographer of BaSe Art and Photography and main editor of NoGli. info@baseart.kodexconsulting.com baseart.kodexconsulting.com

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