E S S A m [en]
SPIR R T. IN A . N FASHIO
. ATION
DENISE BOOMKENS
MARK JANSSEN BARRIE HULLEGIE
CARMEN KEMMINK
MISHA DE RIDDER
ERWIN OLAF
AMIE DICKE
THE DUTCH ISSUE HANS DE VRIES
ED VAN DER ELSKEN
INEZ VAN LAMSWEERDE & VINOODH MATADIN HENDRIK KERSTENS
DIRK LAMBRECHTS
MADELEINE BERKHEMER SEMA BEKIROVIC
mASSE [en]
Executive Editor/Founder Lola Shepard lola@enmassmag.com Creative Director/ Founder Jill Tashlik jill@enmassmag.com Copy Editor B. Bailey Marketing Director Karen Salema karen_salama@hotmail.com Contributors Amie Dicke Barrie Hullegie Carmen Kemmink Denise Boomkens Dirk Lambrechts Ed van der Elsken Erwin Olaf Hans de Vries Hendrik Kerstens Inez van Lamsweerde & Vinoodh Matadin Madeleine Berkhemer Mark Janssen Misha de Ridder Sema Bekirovic Special Thanks To: Witzenhausen Gallery www.witzenhausengallery.nl Marc-Jan van Laake www.bergmanenvanlaake.nl
EnMasse magazine is owned and published by Studio O2 LLC. Copyright 2010 by EnMasse magazine. Reproduction or use of editorial or graphic content, in whole or in part, in any manner, without permission is prohibited. EnMasse reserves the unrestricted right to accept or reject any editorial or advertising material.
netherLANDS
[welcome to the]
Celebrated for its diversity, energy, attitude, and artistic enthusiasm, The Netherlands has everything a country could offer. In this issue, EnMasse is taking our readers on a guided tour of the contemporary art and fashion photography scene in The Netherlands. Our compiled list of influential Dutch artists and photographers play with memory and fantasy, blurring the line of real and imagined. We present to you sculptural works by Sema Bekirovic and Madeleine Berkhemer, the cut-out series of Amie Dicke and the awe inspiring work of photographers Misha de Ridder, Hendrik Kerstens, Ed van der Elsken and duo Inez van Lamsweerde & Vinoodh Matadin. Our series of fashion photographers have the ability to weave together narratives that create an incredibly effective way of telling a story. A few of our featured “storytellers” include: Erwin Olaf with his ethereal dream-like scapes in “Dusk and Dawn”, Carmen Kemmink’s editorial titled “Hour of the Wolf” featuring the psychological transformation of man to beast and top photographer, Dirk Lambrecht’s “Le Cirque.” We would like to extend our gratitude to both the Witzenhausen Gallery and Bergman en Van Laake Art Consultants for their contribution and support with this special issue.
Contents: Portrait Of A Lady, by Denise Boomkens 004, Works In Tandem, by Inez van Lamsweerde & Vinoodh Matadin 010, Brave
New World, by Mark Janssen 016, Dawn & Dusk, by Erwin Olaf 024, A Masterful Rendition, by Henrik Kirstens 032, Amelia, by Carmen Kemmink 038, Violent Contradiction, by Amie Dicke 046, Appetite For Arousal, by Madeleine Berkhemer 052, The Iconoclasts, by Hans de Vries 056, In Vertigo, by Barrie Hullegie 066, An Eye On The Streetlife, by Ed van der Elsken 076, Hour Of The Wolf, by Carmen Kemmink 082, Escena Laboral, by Erwin Olaf 092, Unreal Realities, by Misha de Ridder 100, Into The Woods, by Hans de Vries 106, Beyond Control, by Sema Bekirovic 112, Le Cirque, by Dirk Lambrechts 116, The New Golden Age, by Herman van Gestel and Marc-Jan van Laake 124.
PORTRAIT OF A LADY PHOTOGRAPHY: DENISEBOOMKENS.NL PHOTOGRAPHY ASSISTANT: MARTIN UIPKES STYLING & PRODUCTION: PEDRO DIAS STYLING ASSISTANT: DAYENNE BEKKER HAIR & MAKEUP: MAAIKE BEIJER AT ANGELIQUEHOORN.COM MODEL: SHARON AT WWMODELS.NL
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Leather ruffled dress, IRIS VAN HERPEN; Necklace, DYRBERG KERN.
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This page: Dress, CLAES LEVERSEN; Necklace, DYRBERG KERN; Rings, SWAROVSKI. Opposite: Bodice, ROPAROSA; Necklace, OTAZU; Ring, BIBI VAN DER VELDEN; Lace Head Kerchief, GERRITSEN THEATER .
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This page: Dress, JAN TAMINIAU; Silk hat, MATHIJS VAN BERGEN. Opposite: Gold lame dress and brass belt, MATTIJS VAN BERGEN; Leather belt, DIESEL BLACK GOLD; Ring, SWAROVSKI; Studded Bracelet, BIBI VAN DER VELDEN; Leather jacket, INDIVIDUALS BLACK; White collar, STYLIST OWN.
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tanDEM [works in]
Inez Van Lamsweerde & Vinoodh Matadin recently wrapped
up their 25 year retrospective, Pretty Much Everything, at Foam Fotografie
Museum in Amsterdam, NL. With almost 300 pieces on display, it is “read as one long sentence…. a perpetual sentence, where every picture is a word” Inez explains. Their art and fashion photography explores the dichotomy of ideas such as identity and superficiality, natural and unnatural beauty, and gender and sexuality. Rather than taking an outsiders view of the fashion world, Inez and Vinoodh have become part of the fashion system, while maintaining their freedom to create provacative and disconcerting images. From the beginning of their partnership in the mid 8o’s, they introduced digital manipulation in their work when the very idea was antithetical to photography. Using this advanced technique gave their work a strange quality. “People would think is this real or is it not real.” On view are the Thank You Thighmaster, Final Fantasy and The Forest series (combining life size mannequins with human models), various advertising campaigns, fashion spreads, celebrities and profoundly personal self-portraits of Inez and Vinoodh.
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The Widow (White), 1997, © Inez van Lamsweerde & Vinoodh Matadin
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Maggie’s Box - Yohji Yamamoto Campaign, Spring 1998, © Inez van Lamsweerde & Vinoodh Matadin
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Anastasia, 1994, Š Inez van Lamsweerde & Vinoodh Matadin
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Untitled (Head 1), 2008, © Inez van Lamsweerde & Vinoodh Matadin
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Joanna – Hervé Leger Campaign, 1995, © Inez van Lamsweerde & Vinoodh Matadin
Me Kissing Vinoodh (Passionately), 1999, © Inez van Lamsweerde & Vinoodh Matadin
Inez van Lamsweerde and Vinoodh Matadin began collaborating together in the 1980’s and 25 years later they are amongst the most significant photographers in the world. Maintaining successful careers in both art and fashion, their work has been published in French, British, Japanese, Italian, and American Vogue, V Magazine, W Magazine, Harper’s Bazaar, Purple Fashion, and Visionaire. Inez and Vinoodh’s photography campaigns include such prestigious design houses as Hervé Leger, Louis Vuitton, Yohji Yamamoto, Joop, Thierry Mugler and Givenchy. A retrospective of their work will be published with Taschen Books in 2011. www.foam.nl
Antony Fantastic Man, 2006, © Inez van Lamsweerde & Vinoodh Matadin
Delfine - Ad Campaign for Balenciaga in collaboration with M/M Paris 2001, © Inez van Lamsweerde & Vinoodh Matadin
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Dress, IRINA SHAPOSHNIKOVA; Sunglasses, MAISON MARTIN MARGIELA; Stockings, WOLFORD; Shoes, COSTUME NATIONAL.
PHOTOGRAPHY AND SET DESIGN: MARKJANSSEN.COM STYLING: ESME UMARELLA & JOOST VAN GORSEL HAIR AND MAKEUP: DENNIS MICHAEL FOR ELLIS FAAS COSMETICS AT ANGELIQUE HOORN MODEL: ELLEN AT XISTANZ
A BRAVE NEW WORLD
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Coat, RICK OWENS; Heels, STEPHEN VENEZIA; Bracelet, Stylist’s own.
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This page: Jacket, JIL SANDER; Sunglasses, MAISON MARTIN MARGIELA; Shoes, CHRISTIAN DIOR. Opposite: Coat, DRIES VAN NOTEN; Necklace, ANN DEMEULEMEESTER.
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Top, IRINA SHAPOSHNIKOVA; Skirt, CORSAGE RESEARCH; Stockings, WOLFORD; Shoes, COSTUME NATIONAL.
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D dawn & dusk
PHOTOGRAPHY: ERWINOLAF.COM PHOTOGRAPHY ASSISTANT: MARLIS SLUIJTER PRODUCTION DESIGN: FLORIS VOS POSTPRODUCTION: FISK IMAGING, AMSTERDAM STYLING: MAARTJE WEVERS & MONICA PETIT HAIR & MAKEUP: ANNEMIEK BOHENN ALL CLOTHING: VINTAGE COURTESY OF HASTED HUNT KRAEUTLER GALLERY, NY
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renDITION [a masterful]
Hendrik Kerstens’ photography is reminiscent of the 17th
century paintings of Johannes Vermeer. Kerstens’ images are intimate genre pieces concentrating on his muse, daughter Paula. The setting in his photos have been reduced to the absolute minimum, drawing all the attention to the subject’s expressive face and eyes. Her staring, fathomless eyes unblinkingly seek contact with the camera and onlooker. Kerstens often re-creates the poses and stances found in the artwork of many Dutch Masters’ paintings. He also mimics the headwear of that period with basic household products, such as grocery bags and toilet paper. His careful attention to the technical aspects of photography and the subtly of light tend to give his images a painterly style.
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Flange, 2009, c-print, 150 x 120 cm. Š Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York.
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Shopping Bag, 2008, c-print, 100 x 80 cm. Š Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
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Pimp Up Louis, 2006, c-print, 150x120cm. © Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
Black Cap, 2006, c-print, 50 x 60 cm. © Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
Self-taught photographer Hendrik Kerstens decided in 1995 to dedicate himself entirely to his craft. In 2008, he won the Taylor Wessing Photographic Prize from the National Portrait Gallery in London. Kerstens’ portraits are based on Dutch and Italian Renaissance artists. His work has been exhibited in Amsterdam, Brussels, London, New York, and Los Angeles and throughout Latin America. His photographs are included in the collections of renowned institutions such as the Santa Barbara Museum of Art, Erasmus University in Rotterdam and Gemeentemuseum Den Haag. Kerstens’ work has appeared in many publications including American Photo Magazine, the cover of Domus and the New York Times Magazine. Kerstens lives and works in Amsterdam. www.hendrikkerstens.com, www.witzenhausengallery.nl
Lamp Shade, 2008, c-print, 30 x 37 cm. © Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
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Napkin, 2009, c-print, 150 x 120 cm. Š Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
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Paper Roll, 2008, c-print, 100 x 80 cm. Š Hendrik Kerstens. Courtesy of Witzenhausen Gallery Amsterdam/New York
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PHOTOGRAPHY: CARMENKEMMINK.COM AT PIMTHOMASSEN.NL STYLING: MAJID KARROUCH AT MANJAOTTENPM.COM HAIR AND MAKEUP: FERRY VAN DER NAT MODEL: JUUL BIERINGS AT TOUCHE MODELS
Cashmere sweater, UNITED COLORS OF BENETTON; Dress, ORSON+BODIL; Parachute corset, ARMY NAVY STORE; Necklace, GIORGETTIE.
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Knitted zip cardigan and pilot glasses, ARMY NAVY STORE; Earrings, GIORGETTIE; Silk shirt, ILJA VISSER; Trousers, H&M.
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contraDICTION [violent]
Amie Dicke’s use of images from fashion publications is the main basis of her art. Her work clearly shows an allure with all the
glitz of the fashion industry but regrettably the artificiality of the allure functions as the harbinger of decay. In her cut-out series, she transforms her subject’s image into a skeletal design beyond formal recognition leaving only the hair and lips. Fragility and sadness is manifested through her design and layers of ink. Dicke has also created a series of ‘nailed faces.” The faces are stabbed with precision subverting the original image of beauty. In her larger installations, the presence of vanishing dreams and the scattered relics of lives once lived are eerily expressed through the use of dismembered legs and discarded furniture.
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Tanya, 2006, various nails in magazine paper, 35x26.5cm. Courtesy of Galerie Diana Stigter
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Scandaleuse, 2006, various nails in magazine paper, 35x26.5cm. Courtesy of Galerie Diana Stigter
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Love me Calvin Klein, 2004, cutout, ink on magazine paper, 41x58cm. Courtesy of Galerie Diana Stigter
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Ash II, 2006. Courtesy of Galerie Diana Stigter
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The End, 2006. Courtesy of Galerie Diana Stigter
Isabeli, 2004, cutout, ink on paper. Courtesy of Galerie Diana Stigter
Born in 1978, Amie Dicke lives and works in Amsterdam, NL. From 1995 to 2000 she studied at Willem de Kooning Academy in Rotterdam, NL. Dicke’s work has been widely reviewed and featured in publications including ArtForum, Numéro, V Magazine, Gas Pressing, Art Monthly, Elle and Dazed & Confused. Her work is in the permanent collections of Museum Het Domein, Sittard; The Museum of Modern Art, Arnhem; City Collection of Rotterdam through the Museum Boijmans van Beuningen. In 2011, her solo work will be exhibited at GEM Museum of Contemporary Art at The Hague. www.amiedicke.nl, www.dianastigter.nl
L’ame Luba, 2006, various nails in magazine paper. Courtesy of Galerie Diana Stigter
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aroUSAL [appetite for]
Madeleine Berkhemer’s work is defined by female eroticism,
fetishism and sexuality. “All my art has a sexual connotation; art that has no sexual connotation has no reason to exist.” She further goes on to explain that “erotic installations are the only essential expressions of communication.” Her interest lies within two areas: body and space and zones of taboo, often crossing these boundaries in her artwork. Berkhemer does not see herself as only a sculptor, performer and photographer but instead utilizes the medium that would best represent her concept or idea at any given moment. In many of her installations, her preferred materials tend to be stockings and tights because of their elasticity, suggesting a second skin.
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Excerpt Of ‘La Danaide’, 2008, marble, 60x80x45cm. Courtesy of Witzenhausen Gallery, Amsterdam
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Sweet Cross, 2008, marble. Courtesy of Witzenhausen Gallery, Amsterdam.
Sandwich I, 2005, leather, wood and steel, 30x30x40cm. Photographed by Kamerbeek fotograďŹ e. Courtesy of Witzenhausen Gallery, Amsterdam,
Sandwich II, 2004, leather and wood, 35x8x20cm. Courtesy of Witzenhausen Gallery, Amsterdam. Swallow, marble, 55x75x43 cm. Courtesy of Witzenhausen Gallery, Amsterdam.
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Milly’s Maserati, 2004, 450cmx350xx200cm, steel, metal, aluminium, leather and stockings. Photographed by David Mouchard at Galerie Du Jour/Agnès b. Paris. Courtesy of the private collection of Agnès b.
Crouching Shoe, 2008, polyester, flock, 60x35x40cm. Courtesy of Witzenhausen Gallery, Amsterdam.
‘Mandy’s Chandelier’, 2006, size variable, stocking, glass, perspex and nylon. Courtesy of the artist.
Madeleine Berkhemer was born in Bergen op Zoom, Netherlands in 1973. She studied fashion at the Academy for Visual Arts ‘Willem de Kooning’ in Rotterdam. Her artistic repertoire includes drawings, sculptures, installations and performance art. She has held one-woman exhibitions at Cokkie Snoei Gallery, NL; P.S. 1 Contemporary Art Center, New York; Warehouse Contemporary Art, Teramo, Italy; Gallery Mario Maroner, Vienna/Salzburg, Austria and Witzenhausen Gallery, New York, to name a few. She has participated in a plethora of group shows throughout her illustrious career and published several books of her work including Milly, Molly, Mandy and Histories. In 2009, Madeleine created an installation which included a live performance for the opening of Christian Louboutin’s Miami flagship store. www.madeleineberkhemer.com, www.witzenhausengallery.nl
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iconoclas the
PHOTOGRAPHY: HANSDEVRIESPHOTOGRAPHY.COM PHOTOGRAPHY ASSISTANT: MARLIS SLUIJTER CONCEPT & STYLING: EDITHDOHMEN.COM HAIR: BIANCA VAN ZWIETEN MAKE UP: PASCALLE TESSER MODEL: WENDY AT DE BOEKERS, AMSTERDAM
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Dress, CLAES IVERSEN; Necklace, BY MALENE BIRGER.
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This page: Body Suit, CELYN B.; Stockings, WOLFORD; Boots, BARBARA BUI. Opposite: Black top with zippers, END by EVA AND DELIA; Leggings, AMERICAN APPAREL; Earrings, STYLIST OWN.
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This page: Coat, PAULE KA; Leggings, AMERICAN APPAREL; Boots, BARBARA BUI. Opposite: Gilet-jacket, INDIVIDUALS; Leggings, AMERICAN APPAREL.
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This page: Leather dress, BARBARA BUI; Stockings, WOLFORD; Necklace, BY MALENE BIRGER. Opposite page: Dress, BARBARA BUI; Snakeskin boots, PAULE KA; Earring, Stylist’s own.
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This page: Dress and shoes, PAULE KA; Stockings, WOLFORD; Shoes, BARBARA BUI. Opposite: Volume dress, FELICIA ADELINA MAK; Necklace, EMMA WHITE.
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Leggings and bodysuit, MAISON MARTIN MARGIELA.
V IN ERTIGO PHOTOGRAPHY: BARRIEHULLEGIE.COM PHOTOGRAPHY ASSISTANT: EDDIE VERVLOET STYLING: MARIELOUISE TOETENEL HAIR AND MAKEUP: MARGOT VAN ESSEN AT HOUSE OF ORANGE MODEL: ISOLDE AT PAPARAZZI MODEL MANAGEMENT SPECIAL THANKS TO STUDIO13, AMSTERDAM, NL
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This page: Corset, AGENT PROVOCATEUR; Pants, MAISON MARTIN MARGIELA; Shoes, PAULE KA. Opposite: Dress, GUCCI.
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Bodysuit, MAISON MARTIN MARGIELA; Coat, VERONIQUE LEROY.
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Dress, ICEBERG.
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Bodysuit, AMERICAN APPAREL; Gloves and Shoes, PAULE KA.
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streeTLIFE [an eye on the]
Ed van der Elsken (1925-1990) was a photographer, film-maker and world traveler. The people he photographed, spanning between WWII and
the 1970’s, depicted the eccentric and downtrodden from the big cities as well as the café culture, art and music of that time. He did not regard photography as an autonomous phenomenon but rather as something that only acquires meaning in relation to other images. His interest was in the interaction between humans and the environment. The city streets were van der Elsken’s stage and he documented the lives played out there. In addition to his photography, van der Elsken’s direct, personal treatment of images, text and layout was clearly evident in his many films and photo-books. Moreover, his photo-books demonstrate the style of prints that he developed, which include pronounced contrasts, dark skies and a strong emphasis on relevant areas.
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On The Bank Of The River Seine, Paris (1950), Š Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
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Dam, Amsterdam, 1966, Š Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Young Woman In Cheong-San-Dress In The Street, Hong Kong (1960), © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Amsterdam (1983), © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Pierre Feuillette And Paulette Vielhomme Kissing In Café Chez Moineau, Paris, France (1952-1954), © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
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Cuba, 1967, Š Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Vali Myers, Paris, France (1951), Š Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
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Beethovanstraat, Amsterdam, 1967, © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Ed van der Elsken, born in Amsterdam, 1925, was mainly a self-taught photographer. He was employed during the early 1950’s at Magnum Photos in Paris, printing the works of Henri Cartier-Bresson, Robert Capa and Ernst Haas. His first book, Love In The Left Bank was published in 1956, followed by over twenty more photo books spanning his lifetime. Van der Elsken has had solo exhibitions at a number of museums including Amsterdam’s Stedelijk, Foam Fotografie, Paris’ famed Bibliothèque Nationale and the Metropolitan Museum of Photography in Tokyo. Collections of his work are now held at the Art Institute in Chicago and the Museum of Modern Art in New York. www.edvanderelsken.nl, www.annetgelink.com
Stationplein, Amsterdam (ca. 1956), © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
Sint Antoniesbreestraat, Amsterdam (1960-1965), © Ed van der Elsken / Nederlands Fotomuseum. Courtesy of Annet Gelink Gallery, Amsterdam
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hour
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Skirt, CLAES IVERSEN; T-shirt, VINTAGE 55; Desk clock, CARTIER.
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Dress, BLUMARINE; Bra, CALVIN KLEIN; Heels, BARBARA BUI.
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This page: T-shirt, BLUE BLOOD; Skirt, PAULE KA; Belt, DIABOLO. Opposite: Dress, SONIA RYKIEL.
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Dress, D&G.
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Dress, BAS KOSTERS; Bracelets, ZIPPER. Originally shot for La vie en Rose Magazine, Netherlands.
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escena laboral
PHOTOGRAPHY: ERWINOLAF.COM COURTESY OF HASTED HUNT KRAEUTLER GALLERY, NY PRODUCTION DESIGN: FLORIS VOS POSTPRODUCTION: FISK IMAGING, AMSTERDAM STYLING: MAARTJE WEVERS & MONICA PETIT HAIR & MAKEUP: ANNEMIEK BOHENN ALL CLOTHING: VINTAGE COMMISSIONED BY: LABORAL CIUDAD DE LA CULTURA. A UNIQUE SPACE FOR THE INTERNATIONAL INFLUENCE OF ARTISTIC EXCHANGE. COURTESY OF HASTED HUNT KRAEUTLER GALLERY, NY
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reaLITIES [unreal]
Misha de Ridder’s landscape photography has been de-
scribed as atmospheric, estranged and mysterious. He looks inward and depicts his emotional life in his landscapes. De Ridder’s works can be seen as attempts to capture a temporary phenomena and atmosphere of nature within the still medium of photography. It might be the extraordinary shape of a tree, a mountain, a shadow, a cloud or the mirroring reflection of nature in a lake, but it is foremost the unfamiliarity of the natural aesthetics of reality. By seeking the absence of human intervention, waiting for the climax of the temporal aesthetic and by pushing the camera to its technical limits, de Ridder’s photographs become a report of this autonomous world. His work has a romantic attitude that instills a reaction on the impersonal, analytical deconstruction of reality.
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Godyns Punt, Misha de Ridder, 2009, C-print, 24x30 inch. Courtesy of Juliètte Jongma Gallery
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Deception Pass, Misha de Ridder, 2005, C-print, 39x51 inch. Courtesy of Juliètte Jongma Gallery
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Bergwald, Misha de Ridder, 2009, C-print, 63x79 inch. Courtesy of Juliètte Jongma Gallery
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Bokkendoorns, Misha de Ridder, 2009, C-print, 20x24 inch. Courtesy of Juliètte Jongma Gallery
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Matouwacs, Misha de Ridder, 2009, C-print, 72x90 inch. Courtesy of Juliètte Jongma Gallery
Angels Landing, Misha de Ridder, 2004, C-print, 16x12 inch. Courtesy of Juliètte Jongma Gallery
Noort Rivier, Misha de Ridder, 2009, C-print, 19x24 inch. Courtesy of Juliètte Jongma Gallery
Wissen Brünnen, Misha de Ridder, 2009, C-print, 39x51 inch. Courtesy of Juliètte Jongma Gallery
Misha de Ridder was born in 1971 and lives in Amsterdam, NL. In 1996, Misha graduated from Utrecht School of the Arts. His first photography book Sightseeing was published in 2000 depicting images of the urban landscape of Amsterdam. In 2003, his second photography book Wilderness was published by Artimo. The book’s pages of Wilderness are perforated for easy removal as the included images can be assembled to create two wall sized installations. His work has been exhibited at Foam Photography Museum Amsterdam, Juliètte Jongma Gallery, Layr Wuestenhagen Contemporary in Vienna, Photo España Madrid, Stedelijk Museum Amsterdam and recently included in the exhibit at The Museum of the City of New York titled ‘Dutch Seen: New York Rediscovered.’ www.mishaderidder.com, www. juliettejongma.com
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INTO THE WOODS
PHOTOGRAPHY: HANSDEVRIESPHOTOGRAPHY.COM PHOTOGRAPHY ASSISTANT: MARLIS SLUIJTER STYLING: ANGELA KUPERUS STYLING ASSISTANT: FLEUR FERINGA HAIR AND MAKEUP: DOMINIQUE SAMUEL FOR MAC COSMETICS & BUMBLE AND BUMBLE MODEL: LOTTE AT FRESH MODEL MANAGEMENT
Top, WOLFORD; Skirt with applicated plisse, MATTIJS VAN BERGEN; Metal bow handbag, MARGA WEIMANS.
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This page: Bat wing top and pleated trousers, MADA VAN GAANS. Opposite: Chiffon dress, DJANGO; Suede slingbacks with wooden heel, END by EVA AND DELIA; Copper megaphone, BIBI VAN DER VELDEN.
Vintage fencing mask, Stylist Own; Jacket, RUBIN CHAPELLE.
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This page: Nude blouse, INDIVIDUALS; Latex skirt with wood print, EDWIN OUDSHOORN; Suede slingbacks with wooden heel, END by EVA AND DELIA. Opposite: Mesh catsuit, RAYA HESAM.
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conTROL [beyond]
Sema Bekirovic’s artwork can best be described as a science experiment in its exploration of probability and chance. She cap-
tures the friction created by the chances of nature and design of culture. Berkirovic plays with two ideas: tension between gaining and letting go of control and creating situations in which things can occur spontaneously by letting chance decide how the work will develop. In Untitled (Metal Ball), a life-size ball containing a robotic arm deals out a blow causing a loud bang, changing the balls shape until it is a heap of scrap metal, destroying itself from the inside out. In her installation Camerakamer, cameras are attached to the walls in a small room and go off as soon as someone enters, resembling the feeling of swarming paparazzi. Berkirovic has the ability to make disorder look beautiful. For example, her dice sculpture is made of hundreds of raw material used in the production of dice. The installation when viewed from afar looks like a cloud, however, up close it has the appearance of a molecular structure that floats in air. “The world might be chaotic,” she suggests, “but that doesn’t stop us from trying to give it shape.”
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Untitled (metal ball), 2008, 80x80
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Untitled, 2008, installation consisting out of plastic dice
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Event Horizon, 2010, video, 3.5 min
Camerakamer installation, 600x400, photographed by Thomas Schlijper
Born in 1977, Sema Bekirovic currently lives and works in Amsterdam, NL. She has studied at both the Berlin University of Arts and the Dutch Academy of Art and Design. Berkirovic utilizes a variety of mediums in her art from photography, video and slideshow to installation and sculpture. Solo exhibitions of her work have been held at Hayward Gallery in London, England, and at Galerie Diana Stigter and Buro Leeuwarden in The Netherlands. She has also participated in group exhibitions in The Netherlands with Tegenboschvanvreden Gallery, Tanya Rumpff Gallery and Flux-S Arts Festival. www.semabekirovic.nl, www.dianastigter.nl
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PHOTOGRAPHY: DIRKLAMBRECHTS.COM AT HOUSE OF ORANGE RETOUCHING: BART AT REDHOUSE STYLING: OLIVIER BAILLE HAIR AND MAKEUP: OLIVIER BAILLE
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This page: Dress, INDIVIDUALS SATAMFI; Hat, Vintage. Opposite page: Top, CATTA DONKERSLOOT.
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This page: Lace jacket, VERA MONT; Hat, ENZ; Opposite: Dress, ELSIEN GRINGHUIS; Hat, ENZ; Corset, H&M.
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goldEN AGE [the new]
PHOTOGRAPHY: HERMANVANGESTEL.COM STYLING: NAMREH MAKEUP: DAINORADULCYTE.COM
Known as the Dutch capital for contemporary art, Amsterdam has always had a thriving art community and today houses some of the finest art work from the Dutch masters. Rembrandt, Vermeer and Van Gogh can be readily viewed in prestigious museums such as Rijksmuseum and the Van Gogh museum. Recently, the canal area was added to the UNESCO world heritage list, which recognizes countries for their cultural significance. In the post WWII years, Amsterdam proved to be fertile soil for the Stedelijk Museum of modern and contemporary art. Under the guidance of Willem Sandberg and later, Edy de Wilde, the museum invited and collected the fine fleur of the international art scene. In doing so, the museum rose to international importance and helped establish Amsterdam as a cultural meeting place. At that time, you’d be hard pressed to find an artist to decline an invitation to the city known for having an open-minded and liberal attitude towards life and art. Whether the liberal atmosphere is still around or edged up by the Zeitgeist, Amsterdam still invites and attracts young painters, multimedia artists, sculptors and photographers from around the world. A key role is played by the Rijksacademie (est. 1870), an old and stately institution that has never failed to rejuvenate itself. Each year, the academy provides residency for 50 of the most promising young artists from The Netherlands and abroad. You will often find important foreign gallerists nosing around, trying to sign up future greats. Being Amsterdam based, the city’s own galleries, of course, have first choice and rarely miss out on a good opportunity. As the Dutch have always been known to travel and explore, Amsterdam galleries, either established or emerging, are going through great lengths to show their hand-picked flock to an international audience. Why not visit Amsterdam for yourself
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and have it all: the scenery, the old masters, the culture and in 2011, the newly restored Stedelijk Museum. —Marc-Jan van Laake, Art Consultant and Partner of Bergman & Van Laake, www.bergmanenvanlaake.nl
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Cynthia Greig Representation Nr. 22 (Black And White Tv), C-Print, 600 X 50 Cm, Edition:10, 2002