Visions Libres #8 / The Art of Destruction

THE ART OF DESTRUCTION

S N O I S i V M

libres

Inside The Art and Culture Magazine |

The Art Of Destruction

#8

LETTER from the editor “The Time” ~UrszUla zybUra There is a Time To love and a Time To haTe This why The world was saved The world where broTher kills broTher There is a Time To be born and a Time To die so when The old faiTh dies new doUbTs arise There was a Time To Tear down The walls There is a Time To pUT boUndries There was a Time To wash legs There is a Time To wash hands (...)

There is sTill some Time lefT no doUbT UnTil The Time rUns oUT

Cover: Louisa Dawn / Back-Cover: Thomas Millerand

»e aim of all life is death« (Sigmund Freud).

Fortunately life takes detours. Creative work in applied or liberal arts, is one of them, a special: destruction and death are literally in him at work.

Not in the trivial sense that each creation is necessarily destructive because they used existing in new ways and thereby dissolves its old relationships. Not necessarily in the metaphysical sense of a natural »death instinct« (Sigmund Freud), who makes and decomposes all human creations.

But in a dialectical sense: e Destructive can be held in the symbolic forms of the arts only therefore be experienced and at a distance, because the Artist make a constructive advantage.

And that means, they extradited to him.

In the contemporary creative processes go to the self-destruction of the symbolic form and the artistic personality - and perhaps even beyond.

About our body and its extensions – through the media that we use – we are connected to the world of nature and the Internet.

And the larger these media extensions – the greater is also the realm of the unconscious, unrecognized and uncontrolled, threatening. e further technical development progresses, the more we lose ourselves and the more we and our bodies with the media, machines and apparatuses are connected. e artist, is the destruction of the ego by external, social, technical and medial forces previously. He makes the destruction that takes place in any case, to his own work – and shows itself in un assailable. Destruction can be the end of a period and the beginning of a new decade. In this you find the aesthetical moment of destruction – e Art Of Destruction.

The Art Of Destruction Feature: omas millerand / L’Amour toujours page 4_35 noel s. oszvald meets davide Capponi page 53_63 momo okabe / Tsunami page 94_99 Udell Cizar Jiménez / Roots of Mexico page 124_135 Poetry District: anna kazmierczak / Run away with me page 36_37 / Émotion privée page 38_39 / e unprepared dress page 40_41 mike lee / Visiting June in April page 64_67 anna kazmierczak / Helen of Troy page 154_155 / e unprepared dress page 40_41 anna kazmierczak / e Same Taste Of e Lips page 156_155 ARTlife: sean stranquist / »Imagination and emotion« page 82_91 Partizipating artists: Andrea Eddem: www.facebook.com/andrea.eddem / Anna Kazmierczak: www.facebook.com/SekretAnka / Anuschka Wenzlawski: http://aw-fotoart.de/, www.facebook.com/awfotoart / Chih-Chieh Wang: www.facebook.com/Morrison.C.C.Wang, CCW Fashion photographer: www.facebook.com/CCWFashionPhotographer / Claudia Griebl: www.facebook.com/cege777 / Claudia Pomowski: www.facebook.com/claudia.pomowski / www.facebook.com/davidecapponi.iphoneography / Debashish Ghosh: www.facebook.com/debashish.ghosh.7965 / Didier Mignon: www.facebook.com/Didier.Mignon.Photographe / Draz Photo: www.facebook.com/draz.foto / Edmond Thommen: www.facebook.com/etinsyd / Edwige K. : www.facebook.com/edwige.lereste / Egon Hungerbühler: www.facebook.com/egon.hungerbuhler / Giorgio Sitta: www.facebook.com/giorgiositta, www.giorgiositta.com / Giuseppe Lama: www.facebook.com/volcanodigital / Heko Köster: www.facebook.com/hekography, www.facebook.com/profile.php?id=1408375381 / Jean Stranquist: www.facebook.com/jeanstranquist / Jenny Papalexandris: www.facebook.com/jenny.papalexandris, www.facebook.com/JennyPapalexandris.OnPhotography / Joe Josephs: www.facebook.com/joe.josephs.7, www.facebook.com/joejosephsphotography / Jos Tontlinger: www.facebook.com/j.tontlinger / Kátia Lima: www.facebook.com/katia.lima / Kazuyuki Shimokawa: www.facebook.com/kazuyuki.shimokawa.52 / Konrad Sobczak: www.facebook.com/konrado.sobczak, www.facebook.com/Wykadrowany-477411129039899 / Martial Rossignol: www.facebook.com/martial.rossignol.photographe / Mike Lee: www.facebook.com/mike.quinam /Momo Okabe: www.facebook.com/momo.okabe.5 / Nick Gaetano: www.facebook.com/nick.gaetano.10, www.facebook.com/pages/nick-gaetano/68203078421 / Nicolas Decoopman: www.facebook.com/koopsDW / Noel S. Oszvald: www.facebook.com/noelloszvald / Nigel Maudsley: www.facebook.com/nmaudsley / OO Lam: www.facebook.com/fotor.lam / Peder Aresvik: www.facebook.com/peder.aresvik / Rick Tardiff: www.facebook.com/rick.tardiff / Roy Gunnels: www.roygunnels.com / Sammy Sharon: www.facebook.com/sammysharon / Shirren Lim: www.facebook.com/shirrenlim / Silvana Rogazione: www.facebook.com/silvana-rogazione-I-photographer-117975314946236, www.facebook.com/silvana.rogazione / Simon P Laurent: www.facebook.com/Simon.P.Laurent, www.facebook.com/Simon-P-Laurent-wwwlotus-mineralcom--140532785956977 / Thomas Millerand: www.facebook.com/tmillerand / Udell Cizar Jiménez: www.facebook.com/udellcizar.jimenez / Valerie Simonnet: www.facebook.com/simonnet.valerie / Yann Cielat: www.facebook.com/ycielat, www.facebook.com/yann.cielat / Yolanda Girón Gutiérrez: www.facebook.com/yolanda.girongutierrez / 陳顯坤 : www.facebook.com/profile.php?id=100008288171149

Thomas Millerand l’amoUr ToUJoUrs 04/05

phoTography by Thomas millerand Auteur Photographe résidant Larmor Plage, omas Millerand parcourt le littoral Breton du nord au sud afin de livrer par la photographie une vision personnelle de son environnement.

C'est en 2008, vivant à Saint-Brieuc, qu'il découvre la photographie, subjugué par les lumières si caractéristiques des côtes d'Armor. Autodidacte, les premières images traduisent un amour inconditionnel de la mer et une quête permanente des belles lumières.

En 2010 le noir et blanc devient une évidence, tout comme le format carré. La recherche se

tourne alors vers des images de plus en plus épurées et oniriques, dans lesquelles l'océan est représenté sous toutes ses formes. Totalement épanoui dans ce style, l'auteur nous fait alors redécouvrir des lieux familiers et des détails de notre quotidien qui prennent alors une nouvelle dimension.

Régulièrement exposé depuis 2013, un accent particulier est mis sur la qualité des tirages d'art présentés. Chaque tirage original est signé, numéroté, limité à un nombre restreint d'exemplaires et imprimé sur les meilleurs papiers disponibles.

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Trois adjectifs décrivant omas Millerand?

Je sUis passionné, enThoUsiasTe eT CréaTif.

Qui serais-tu et que ferais-tu si dans ta vie il n'y avait pas la photographie? si il n’y avaiT pas la phoTographie Je JoUerais beaUCoUp plUs (eT mieUx ... ) de gUiTare, J’ai Une aUTre passion poUr la mUsiqUe.

Tes œuvres photographiques révèlent une »harmonie entre une technique particulière et l'art conceptuel«. Peux-tu me parler de ta vision de la photographie et de la poésie que tu y mets ? Est-on dans la construction, l'illusion ou la réalité?

J’aime sorTir Un élémenT de son ConTexTe eT inviTer le speCTaTeUr à réfléChir sUr Ce qU'il voiT. proposer Une vision différenTe, qUi m'esT propre, d’obJeTs oU de lieUx ConnUs esT Un de mes obJeCTifs. J’aime donner Une vision oniriqUe de mon environnemenT, le plUs épUré possible eT aveC des TraiTemenTs qUi servenT simplemenT à meTTre le sUJeT en valeUr. Je TroUve la réaliTé ennUyeUse, Je n'essaie sUrToUT pas de la reprodUire.

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Est-ce que te »cacher« derrière la caméra est une façon de te révéler ?

Je Considère la phoTographie Comme Un moyen d’expression, Comme Un insTrUmenT poUr Un mUsiCien, Je ne me CaChe pas.

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omas, à ton avis, quelle est la meilleure méthode pour reconnaître les qualités d’un photographe?

Je ne sais pas ... ChaCUn à sa propre sensibiliTé. J'appréCie Un phoTographe qUand ses images me ToUChe.

Quelle est la principale différence dans la prise de vue en noir et blanc et celle en couleur?

90% de mes images sonT en noir eT blanC, Je raisonne en noir eT blanC, C’esT devenU naTUrel. la CoUleUr esT plUs diffiCile à aborder poUr moi, il faUT vraimenT qU’il y aiT qUelqUe Chose de parTiCUlier dans la lUmière, l’harmonie des CoUleUrs, la dynamiqUe, le ryThme, poUr qUe Cela aTTire mon aTTenTion. eT la plUs parT dU Temps Je sUis déçU dU résUlTaT.

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À ton avis quelle est la meilleure des chose dans le fait d'être un photographe? Et la pire? bien sûr il esT agréable d’êTre ToUs les JoUrs dehors aU bord de l’oCéan, de poUvoir faire les Choses qUand Je veUx. mais Ce qUi esT primordial esT d’arriver à faire passer Une émoTion. qUand TU parTages Une image sUr les réseaUx soCiaUx oU qUe TU es en exposiTion, qUe les gens viennenT Te parler des senTimenTs qUe proCUre Ton Travail ... poUr moi C'esT le meilleUr !

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Quel matériel utilises-tu? Et comment as-tu commencé, en analogique ou en numérique?

Je sUis 100% nUmériqUe eT 100% Canon ! J’UTilise des boiTiers fUll frame, eT CoTé obJeCTif ma foCale de prédileCTion esT le 50mm.

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Que penses-tu du fait de collaborer à des magazines ou des éditoriaux conceptuels?

C’esT Une Très bonne Chose! visions libres esT Une mine d’or!

Très peU de magazines papier proposenT Un ConTenU aUssi riChe aveC Une diffUsion aUssi large.

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Quels conseils donnerais-tu à quelqu'un qui voudrait devenir photographe ? d’êTre vraimenT moTivé eT de ne rien lâCher, de TroUver sa voie eT de progresser aU delà de ses limiTes !

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Barque Sedov

Enfin, quels sont tes prochains projets?

J’ai iniTié Un proJeT de galerie CollaboraTive aveC 5 aUTres phoTographes qUi devraiT voir le JoUr en déCembre. J’aimerais voyager dans les pays donT on ne voiT Jamais d'images ... ToUT le monde va en island, en eCosse, en irlande aU Japon ...

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ConTaCT: http://thomasmillerand.picnpin.com/

www.facebook.com/tmillerand www.facebook.com/thomasmillerand.photographe

Poetry District anna h. lUCy kazmierCzak Photography

by Roy Gunnels www.roygunnels.com

Anna H. Lucy Kazmierczak is a Polish poet.

Born in 1985 in Ostrow Wielkopolski, Poland Anna started to write poetry as a teenager. In 2003 while a high-school student, Anna’s poems were twice published in Cogito, the biggest educational magazine of Poland. She was subsequently awarded two literary prizes in the Paper oughts poetry competition organised by the Ostrow Wielkopolski Cultural Center Poland.

In 2006 as a student of Dutch literature and language at the University of Wroclaw, she published her first book of poetry Calling God For Poetry. e book was edited and reviewed by well-known Polish poet Urszula Zybura.

Anna is influenced by existentialist writers Camus and Sartre as well as Kaa and Dostoyevsky, who she says unfold the »bare truth« behind our most common dilemmas of being.

Since the beginning of this year Anna has being writing poems exclusively about artists and art. She writes both about the about the work of painters including Rembrandt, Van Gogh, Monet and Picasso as well as the work of European and American contemporary artists.

Besides literature, Anna’s interests are art, psychology, foreign languages, travelling, fashion and design.

She is literate in Polish, English and Dutch and speaks German.

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do you really want to know what’s anger do you need to learn its definition anger happens when you raise your hands and keep screaming out loud a few minutes before the police use live ammunition against you anger grows strong when you realise that there is no bulletproof vest protecting your chest no vest that would muffle the heart beating a pace that could outrun a lion

anger appears when you feel burning pain in your eyes and lungs attacked by the teargas when you can’t tell how much longer this nightmare is still going to last anger sticks to you like a second skin when you know that your city Cairo soon will be turned into a city of ghosts when you’re afraid to find out soon that a god of mercy is a god unjust anger comes to live when you’re about to witness the dantesque scenes this world does not want to see

anger overwhelms you when you feel thrilled observed by the obedient snipers that are ready and steady to kill anger takes over when you can’t take the lies any longer when you know that your country needs a second chance at democracy what’s in your head then? what’s in the head of those that on the rooop must stay with the target “x” there are creatures from a song nobody dares to play or sing zombie zombie zombie

Poetry District anna h. lUCy kazmierCzak

Photography by Roy Gunnels 36/37

SONG FOR A LITTLE GIRL hurry up girl – there is not much time le just half of a day maybe two hours or three just don’t bother about the rest just continue your work – you shall see this heavy tank has never felt the touch of such young so and inexperienced hands in the air there are questions hanging and dust that tries to enter your eyes full of innocence as your brush is moving through the wheel you work hard and make it well-prepared with eyes closed you don’t think you don’t feel you just coexist in reality that’s not a fairy tale for each child who seeks his own tank or gun finds his toy standing or lying there alone you will play with it and take care of it the way you play with your dolls or stones just cheer up girl as in this strange world there’s still so much to do to explore just keep on doing what you’ve been told this is called ‘a revolution’ not really ‘a war’

www.roygunnels.com

Call of the Wild Photography by Roy Gunnels

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it’s a high time i painted your face brother, it’s a high time we answered the wind that calls revolution is just like a dog race where strong led dogs are in high demand

©Roy Gunnels / www.roygunnels.com

“You can’t wait for inspiration.

You have to go aer it with a club”.

Jack London

it’s a high time for the reign of primitive law man with the club can do as he pleases we can’t let injustice take over control let’s fight and return with the shield as leaders as the wind will blow again we will let wild skies burn just wait till the war paint sticks properly to the face it is call of the wild – rule or be ruled revolution warriors do know their place

Poetry District anna h. lUCy kazmierCzak

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by riCk Tardiff

by anUsChka wenzlawski 42/43

by yolanda gir贸n gUTi茅rrez

by yolanda gir贸n gUTi茅rrez

44/45y

by egon hUngerb端hler

by simon p laUrenT 46/47

by shirren lim

by shirren lim 48/49

by 陳顯坤

by ClaUdia pomowski 50/51

by marTial rossignol

by marTial rossignol 52/53

Noel S. Ozsvald – a 25 years old visual artist from Budapest, Hungary.

He uses photography as a base for the images he creating.

»i’m noT a phoTographer.«

Noel S. Oszvald meets Davide Capponi

Davide Capponi: I see the growing movement of Mobile Photography as very similar to the Punk revolution of 1977: everyone could pick up a guitar to go onstage and creative energy mattered more than technique

»i have always been in love wiTh phoTography, bUT kepT my shoTs for myself and a few people aroUnd me.«

by noel s. oszvald

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by davide Capponi

by davide Capponi 56/57

by noel s. oszvald

by noel s. oszvald

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by davide Capponi

by davide Capponi

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by noel s. oszvald

by noel s. oszvald

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by davide Capponi

Poetry District mike lee

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Visiting June in April

Photography by Mike Lee

I. her birthday had passed. fiy plus one and katerina flashed a stiletto smile across the bar, holding up her rocks glass at the bartender standing beside the cash register. it was a long time from tears, and e balevine scotch beckoned, now she now straddled that continental divide between sodden old lady drunk and a tragic spirit grappling with a mid-life crisis. katerina did not like this bartender. Too macho for her tastes, he reminding of her of photos she inherited from her grandfather from her mother’s side, pictures kept in a box in the closet that she began to scan and send to distant cousins interested in genealogy. genealogy was not a hobby katerina had an interest in, especially aer she resolved a painful family mystery from her not-so-distant past. being the granddaughter of a sole survivor of the holocaust was bad enough, worse was she had no actual family ties, except by blood, to both sides. her father was an only child, and his father the same. everyone was long dead, buried in Texas or burned in austria, germany and poland – except one, a great-grandfather who may have been killed in the spanish Civil war, or changed identity and disappeared. she read through the known records and notes her bubbe uncovered in her research, and saw what she found – nothing. en there was the irish side – her mother’s family. ere were emails from the first cousin, removed by a generation; her grandfather never told her he had several brothers, and a sister. e cousins asked. katerina had no idea why. her grandfather was born in brooklyn, and moved to Texas to work in the oil fields during the depression. later, he met a woman, got married and had they her mother. ese long-lost cousins sent photographs of him as a young man, including a eighth grade class photo of him hands on knees in 1921. he sure looked like her mother – sandy blond hair, angular face, though he was a bit more drawn in. e cousins sent her another photo, this one of his little sister at her graduation from middle school – 1925. katerina had her eyes. ey also sent their genealogy.

Continue reading on the next page. ➢

Poetry District

mike lee

she died the following year. 16 and gone, this was more common than not back then. yet katerina thought to ask. ey had no answer, though the cousin who wrote back mentioned a childhood memory when she saw photos of her in a family photo album her grandmother grabbed the book away from her.

June was her name, she died in 1926, and no one knew why. katerina responded, asking if they looked up her death certificate and where she was buried. she was, aer all, living in new york City, and she would be glad to go to the effort of researching at the municipal archives downtown. as she typed, katerina couldn’t think of why she would do this, but June had her eyes, and something the way she stared back at her from the photograph touched her. she rather wanted to know. e response was terse, even for the irish and framed in careful words that let on they knew more than the cousin admitted, which intrigued her more. but also there was a sense from what she read that the cousins had been warned off from knowing more. likely a deathbed request, a family drama best le uncovered. katerina was only halfirish. she couldn’t give a fuck. she went into her bag, fished out her wallet, and paid the bar tab. e bartender truly bothered her. she no longer desired another balevine neat.

II. further emails regarded katerina politely asking if there was anything the family had of June’s, saying that other than her grandfather’s photographs, some of which were studio portraits dating to the 19th century, there was nothing of his sister. she did not know why her grandfather had all these photographs – this was a confounding mystery as to how he came to own them. he certainly could not have brought them with him when he hoboed to east Texas in the 1930s, so she guessed he got in contact with someone years later. he had photos of parents,

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his brothers, grandparents, aunts, uncles and one set of great-grandparents looking lace curtain irish staid in a studio portrait taken in 1888, but was missing was a photograph of his sister June. e response took a long time in coming. finally, a package arrived. inside were a pair of white gloves, a crucifix and a brush and mirror set along with several photos. katerina lined the objects neatly on her kitchen table, next to the birth and death certificate copies she uncovered at the municipal archives. is was all she was able to find regarding June and how she had died; in her research katerina did not find a police report and the hours spent pouring over indexes of available newspapers from the time at the new york public library came up zero. it was mid-aernoon when she le the bar in soho. she took the train downtown to the staten island ferry, and waited pensively in the waiting room. when a boat arrived katerina got on, and she stood at the prow, staring out, ignoring everything as the ferry crossed the inner harbor before landing at st. george Terminal. she knew the bus to take, and went from the station to the cemetery. she had called st. peter’s beforehand to inquire where her great-aunt was buried, and had all the information. she walked from the bus stop to st. peter’s, the oldest and largest Catholic cemetery on the island. katerina knew where to go. she noted that the cemetery was split into two sides by a road; this reflected the segregation of that first generation of two competing immigrant groups; on one side the burials of the irish and on the other, mostly italians. she ignored the irish, June’s family, and crossed the road. she walked past row upon row, until finally she found her gravestone. only fieen and an embarrassment to her family, katerina murmured as she stood at her grave, remembering the hail mary and act of Contrition,

clutching rosary beads. katerina was half-Jewish, but at her other grandmother’s insistence made it as far as first Communion. she sometimes prayed, and on those rare occasions she found herself in a place of worship, she divided it equally between Temple and mass, depending on the remembrance of which side of the family she straddled. she missed mom and dad, and both sets of grandparents.

“Cast out of the family,” katerina said. she bent down, and placed the crucifix against the stone. katerina slid her fingers against the cold marble. at least they put beloved daughter on the tombstone, though katerina suspected it was an aerthought borne out of guilt. she reached into her bag, and with a brush and paint, filled in the name and dates. she le the “beloved daughter” be. June had been cast from the family – so no beloved she. yet June had a grandniece who cared, and had wanted to get to know her, beyond unwritten sentences in emails, and found a death certificate that told all. katerina stayed with June for several hours, until the chill april wind told her this visit should end.

June wanted to rest, as did katerina. at night before bed, katerina brushed her hair with June’s brush, adding her dyed middle-aged bottle red strands to the fading follicles of June’s blond. katerina stared into the hand mirror sharing June’s eyes, grasping with her hands, though sensing June’s fingers over hers, as well.

Mike Lee is a writer and photographer based in New York City and Managing Editor of Public Employee Press, the voice of District Council 37, AFSCME. Previous publications include e Ampersand Review, Paraphilia, Sensitive Skin, Glossolalia and e Potomac Journal.

His stories are also featured in several anthologies, including Forbidden Acts (Avon) and Pawn of Chaos (White Wolf). A collection of photos, Le miroir invisible (e Invisible Mirror), was published by the French publisher Corridor Elephant.

His photography is featured in ArtPhotoFeature Magazine, Aspect: Ratio, Black & White in Color Magazine, Visions Libres, VL Editions / All Your Ambition, SHOT! Magazine, Inspired Eye and in the books Black and White Street Photography, World Street Photography (Kujaja Press, Austria).

Web: www.mleephotoart.com.

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by konrad sobCzak

by Jos Tondlinger

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by konrad sobCzak by laUrenT heTTe

by EdwigE K 72/73

by draz Photo

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by yann CiElat

by Jos tondlingEr

by niCK gaEtano

by Claudia griEbl 76/77

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by andrEa EddEm

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by yann CiElat by sandra saChsEnhausEr

by Chih-ChiEh wang / CCw Fashion PhotograPhEr / www.FaCEbooK.Com/CCwFashionPhotograPhEr

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by Chih-ChiEh wang / CCw Fashion PhotograPhEr /

www.FaCEbooK.Com/CCwFashionPhotograPhEr

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by Chih-ChiEh wang / CCw Fashion PhotograPhEr / www.FaCEbooK.Com/CCwFashionPhotograPhEr

by EdwigE K 86/87

by shirrEn lim

by giorgio sitta

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by KazuyuKi shimoKawa

by KazuyuKi shimoKawa

by giorgio sitta

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by ValEriE simonnEt

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by niColas dECooPman

Momo Okabe (Tokyo, 1981). Okabe was chosen by an international jury as the winner of the Foam Paul Huf Award 2015. She won the prize for her two remarkable projects about Japanese society and her intimate relationships with two transgender lovers, whom she followed during their processes of transition. Her winning projects, titled Dildo and Bible

Okabe’s work has been acclaimed by Nobuyoshi Araki and Masafumi Sanai through the prestigious photo competitions for the young talents in Japan, New Cosmos of Photography (99) and EPSON prizes (09).

However, her name still remains silent to the photo market in Japan possibly because her depiction of subject is considered excessively sexual and provocative.

untitlEd, tsunami (2011)

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by momo oKabE / tsunami (2011) by daša ščuKa

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by momo oKabE / tsunami (2011)

Every year during the Autumn season the greatest festival of the Bengali people take place in India. e center of this festival is of course Kolkata. In this festival people worship of the goddess Durga. Once the festival is over aer a span of four days the clay idols of Durga is taken to the Ganges for Visarjan (e immersion of the idol). e clay idols are made based on bamboo structures. Aer the clay body of the idol gets washed away just the bamboo structures remain and these are being collected by the idol makers again to reconstruct next year. is boy was sitting on top of these destroyed idol frames at Ganges.

by dEbashish ghosh 100/101

Taken during the visarjan at the ganges in kolkata of the durga idols ... the hands are of the devi durga’s( the goddess) and the headless body is of asura’s ( the devil). e durga is supposed to kill the asura and that is they way the idols are being made for worship. Aer visarjan I got this moment where the asura is taking the upper hand on the durga and which also resembles the power struggle between the male and female figures.

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by dEbashish ghosh

Hand of the child.

Messages le aer the Lindt Cafe Siege in Sydney

by yolanda girón gutiérrEz 104/105

by JEnny PaPalExandris

ARTLife JEan stranquist

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JEan stranquist Clothing dEsignEr / artisan From dEtroit, miChigan and southErn CaliFornia.

PrEsEntly liVEs and worKs in Portland, orEgon usa – thE bEautiFul PaCiFiC northwEst.

e synthesis of vintage and new ‘textiles and materials’ to wear.

By taking apart all seams with great care, restructuring by cut, attending to worn areas with mend, fully hand re-sewn assembly and adding extra materials of hand painted silk and tulle for li – a small vintage kimono was able to grow into a full length light as air coat.

Design by Jean Stranquist Photography by Andre Couturier Model Ophelia Darkly [garment private collection NYC]

what’s your baCKground?

My background is in dance with interest in applied sciences. I am a self taught artist/designer with a high curiosity quotient of ‘how are things are made’ from garments to structures. With my ability and eye to interpret ideas paired with knowledge of construction I was able to work with other designers early on in both small manufacturing and atelier settings. My work experience transitioned to open Jean Stranquist Design Studio.

»As an artisan designer I work in a Varity of textiles as medium.

By choosing mainly formal solutions, the work can be considered art and bespoke cra which is executed using clear formal rules and exploration.

When clothing is then made based on so formal associations this opens a unique poetic vein.

Multi-layered and positioned materials of fragility to structure emerge.«

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ARTLife JEan stranquist

ARTLife Jean StranquiSt How do you work?

By elements; focus and flexible versatility, serious and quiet, subtle with underlying complexity is how I work for each project undertaken and in my day to day life. Textiles: antique, vintage and new along with leather and suede all present questions of how to reconstruct/construct. My work comes from bespoke commissions; directly working with clients to make pieces

for wardrobes, textile collectors who have antique and vintage pieces made into re-use garments and accessories.

All this presents wide open aspects of garment design by creating fashion of interest to touch, eye and overall feeling for both men and woman.

Concept by Jean Stranquist Layout Composition and Spectre Model Kuriji Jeyro Model Ophelia Darkly Model photograph by Andrea Couturier

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wHat’S integral to tHe work of an artiSt? What is integral is not always a direct formula. Each person working artistically comes and goes, circles or dissects in what works for them. ere can be similarities in approach, construct and finish all open to interruption. Results vary and that is what creates limitless points of view.

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ARTLife Jean StranquiSt

e artiSt Have wHat role doeS tH in Societ y? ng joy and also

serve to bri An artist in society can people. blic and private work for thoughtfulness in both pu

wHat’S your favori

te art work?

favo richanges. Presently I am Favorite artwork for me mini. rro architect Francesco Bo ting the ceiling dĂŠcor of

ARTLife

Jean StranquiSt

deScribe a real-life Situation tHat inSpired you?

wHat memorable reSponSeS Have you Had to your work?

My failures in life and career have actually inspired me the most by creating extraordinary challenges to overcome or let go of in order to keep my work as an artist.

e memorable responses to my work are how a person feels and then expresses this to me. When someone says “I just feel good when I look at what you are making.”

My work has contributed to that person’s happiness.

wHat JobS Have you done before working aS artiSt? e jobs I have had from first to present have always revolved around making and producing garments in dance, theater and working for other designers. Briefly I worked high end retail and as a private organic raw foods chef when I moved to California. I then met three designers who hired me for my design and making expertise.

wHat iS an artiStic outlook on life?

I see an artistic outlook on life as problem solving by integrating solutions, function and beauty. is can be done every day for there is no limit to Life as medium.

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wHat food, drink, Song inSpireS you?

Nourishing foods and liquids support energy and focus.

I like classical and jazz music, no particular song.

iS tHe artiStic life lonely? wHat do you do to counteract it?

I have never found my work as an artist or life lonely.

I enjoy solitude and a quiet environment to concentrate and work. ere are people everywhere and never a lack to find interesting conversation.

Design by Jean Stranquist / Photography by Andre Couturier / Model Ophelia Darkly

SHould art be funded?

Yes, I feel the arts are a worthwhile human endeavor and should be funded.

wHat role doeS artS funding Have?

Arts funding plays an important role by investing in both artistic and cultural experiences that enrich people’s lives.

When the arts, museums and libraries are supported so is that society.

wHat reSearcH do you do?

I research textiles, art history, historic dress and current trends by reading and observation of work today. As a visual learner this has resulted in hands on experiments with many materials over time.

wHat Superpower would you Have and wHy? A Super Power ability to understand, speak and read all Languages. is would allow an incredible understanding to people, cultures and instantaneous communication.

name SometHing you love, and wHy. I love the Pacific Northwest and especially living in Portland, Oregon. I am surrounded by magnificent Nature and Rivers. Both the Mountains and Ocean at my reach under 2 hours drive. is is deeply inspiring every day.

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ARTLife Jean StranquiSt wHat makeS you angry?

Incivility.

name SometHing you don’t love, and wHy. I prefer to give my thoughts to things I like and love.

wHat iS your dream proJect?

I am a realist I don’t think in terms of a dream project. Each project is unique and I give it my all. I’ve had a number of ‘dream projects’ yet at the time it was challenging work requiring serious thinking and time.

Aer the fact I could see it as a dream project.

wHat’S tHe beSt piece of advice you’ve been given?

Use your brain and figure it out.

wHat wouldn’t you do witHout?

Coffee, green smoothies, my workshop and nature

finally, wHat are your next proJectS? My next projects involve making a new website and showing work for online availability and buying. At the same time creating a manner of working with collectors, fashion buyers and clients Worldwide which will make me and the bespoke work I offer widely accessible.

Knitwear Design by Jean Stranquist / Photography by Adam Rowell / Model Victoria Wade

contact: www.jeanstranquist.com www.facebook.com/jeanstranquist instagram.com/jeanstranquist

by Silvana rogazione

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by Silvana rogazione

by Silvana rogazione

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by nigel maudSley

by nigel maudSley 122/123

by yann cielat

by yann cielat

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by yolanda gir贸n guti茅rrez

by valerie Simonnet

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by yolanda gir贸n guti茅rrez by yolanda gir贸n guti茅rrez

by yolanda gir贸n guti茅rrez

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by kรกtia lima

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by didier mignon

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by Joe JoSepHS pHotograpHy

by Sammy SHaron

by peder areSvik

by oo lam

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by oo lam

by edmond tHommen

by giuSeppe lama

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by giuSeppe lama

by giuSeppe lama

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by Heko kรถSter

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by nick gaetano

Udell Cizar Jiménez

»rootS of mexico« Within Temoaya mountains in the State of Mexico Otomí civilization it is one of the five major indigenous peoples of Mexico. is civilization was an important part of history in Mexico by having alliance with the Spanish conquest for his arrival in the country.

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In 2000 the amount of indigenous Otomí in the country reached 646 857 people, in 2010 only about 98,000 people registered in Mexico. is means that the Otomí culture

is disappearing and that within the next 10 years will have reached the globalization and disappear from the face of the earth, all its traditions will perish.

2014 last year I went to the Midwest in the mountains of Temoaya, San Pedro Arriba.

Where they are located geographically and pass three months photographing their history, activities, children and adults, traditions, cuisine and culture.

I discovered that in fact is an area of extreme poverty in Mexico where they live, very few children go to school, because they are too far to reach them and what struck me most was that they are losing their language Otomi, within schools have a class where they teach their original dialect but globalization have come to them now seamlessly blend the children’s original words in Nahuatl and the Castilian and changed the words. Community teachers told me that in time their language will disappear because they are already noticing that fewer people speak the original language.

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eir food is based on: Beans, black corn, rice and tea. is was harvested on their land and it is for personal use, agriculture is an important part of his life since everyone has and live o the land.

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Another important part is the Pulque, a beverage 100% Mexican, made or aguamiel , a very strong drink, and they produce to sell when they come down from the mountains to the city.

î‚ťis series of photographs tells the story of a Mexican OtomĂ­ people. Before their disappear I find their roots and the importance of their culture.

Friendly people, humble people who oers what little he has and all he wants is to share, to be heard and live a life with better quality of human life.

Documenting these people changed my life. I realized what are the important things in life and we have to value our history because is just as important as our future.

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Originally from Cd.Victoria, Tamaulipas, I have 28 years and am of the lucky ones from small knew what they would do great No, but at the moment I took my first camera, preowned, I felt like that boy who discovers a passion that governs his life.

How much in life found in practice the experience he needed, but one day was not enough and began reading and studying on my own theory I needed to consolidate my knowledge.

It was so understood that photography had given my life direction and direction but mostly a form of communication that transcended, in me and in others a unique way with frozen moments; but alive, with each of the stories, feelings and experiences that accompany my portraits. So it was that the world conspired next to me and took me to work in public and private companies. But it was not until I was the photographer private Governor of Tamaulipas my job as a photographer was consolidated, giving me the opportunity to fulfill myself professionally in 2012.

I continued for a while with the policy, and then I had my own studio for a year, a short time that I realized that the picture moved me was to small moments and moments that perpetuated emotions and experiences. So I undertook a tour of some states marveling Republic of culture, people, colors, traditions, cuisine and their stories so I began to portray what had marveled me. î‚ťere I came face to face with the beauty of documentary photography.

For further contact: www.udelljimenez.com www.facebook.com/udellcizar.jimenez

Helen of Troy i beg you pardon but i really don’t follow could you please clarify the end of your story you say that the last night transformed you into paris you risked your life and entered a forbidden territory did you just say it was the queen of laconia and the wife of menelaus? you must be out of your mind i can’t believe you could be so thoughtless and get involved with Helen of troy

i don’t understand why things have come to this you two were supposed to meet up talk a while and then just shake hands and now you’re telling me that all you could think of were her kissable lips and that you tried not to touch her and that it was not what you initially wanted to do or wished you the lover of fine literature that has read so many masterpieces of geniuses like chekhov nabokov balzac and tolstoy still you did not foresee the danger that there are some women you should stay away from

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how could you forget that the same power that creates feelings like love also has the amazingly strong ability to damage and destroy and from what you just said Helen is ready to give up and surrender lying helplessly on the floor hearing the soldiers coming and the king's fury is announced by the ominous boots next time you’ll see an incredibly beautiful woman with intoxicating beauty and skin that glows with a shine your eyes have never known i consider myself your friend not a judge so if you must – just go but be aware that you are three steps away from triggering another trojan war two steps away from crossing the line between ‘creation’ and ‘destruction’ and just one step away from waking up demons and causing the anger of the gods

Poetry District anna H. lucy kazmierczak

Photography by Roy Gunnels

The Same Taste Of The Lips you’re so fond of wild adventures finding the world fascinating and so unfinished sometimes i feel like i was living with a permanent tourist i observe you exploring things with a certain curiosity you like different music styles find jazz amusing and both live rock concerts or mozart’s requiem keep giving you shivers when we go on a trip you always want us to go to strange-looking restaurants saying it would be a shame not to try the original tastes scents and colors of something local if our house ever is on fire you’ll start to rationalize you’ll say that the sofa and our bed were old anyway that the oven was broken and the roof leaked you’ll say you really don’t mind living for a while in a five star hotel what’s more you don’t like keeping old things usually throwing them away saying that life

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is dynamic – panta rhei and thrives on fresh air and how about me? for so many years you watch the same hazy brown eyes the same line of the arms the same curves the same straight hair day aer day the same old story the same taste of my lips i ask again wanting to find out if there is much in me yet to be explored i see the corners of your mouth rising slightly as you keep reading your favorite newspaper without looking at me once this is when my lips le on ice once again start shaking swallowing slowly word aer word just because i’m wearing this fancy black jacket does it mean i forgot how it feels to be cold? just because my words never shine as bright as your silver cufflinks does it mean our silence is precious as pure gold?

Poetry District anna H. lucy kazmierczak

Photography by Roy Gunnels

Sound genre peak “fix me deeper”

A collaboration of art, music and emotion best describes Genre Peak and Manal Deeb’s newest release , Fix Me Deeper.

Two well experienced artists in their respective fields bring intense originality. Martin Birke of Genre Peak, an electronic-percussionist and composer who’s back ground includes independent Filmscore, many recordings with various groups, a former composer for e Alvin Ailey American Dance eatre and Complexions Ballet Co. Manal Deeb is a Palestinian American who’s artwork is shown in solo or group exhibits across major art hub US and international cities: New York, Paris,Washington DC, London, Chicago, Cairo, Dallas, Delhi, Los Angeles & Boston.

She is the Resident Visual Artist at Workhouse Arts Center, Lorton VA, USA (www.workhousearts.org). Martin’s dark and cinematic scoring ability with heavily layered percussive and synthscapes seems to work well with Manal’s emotionally charged visuals, paintings and multimedia work.

“Fix Me Deeper” words and music was inspired by Manal’s cover painting, the song presents a narrative of survival in the modern world through faith and grit.

Manal’s spoken Arabic serves the context of the nature of the song composition , to “fix oneself deeper inside through the struggle each one of us may have had or may have to endure” Richard Barbieri was invited to create an alternative version with dynamic shis that add even more intensity to the idea. e 3rd and 4th tracks are Martin’s electronic percussion pieces done earlier this year. www.manaldeeb.com www.genrepeak.net

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ViSIONS M

libres

The Art and Culture Magazine

Visions Libres Magazine / VL Editions is an international photography and contemporary Art Collection. The magazine serves as an exhibition space that embraces every aspect of photography and art.

Take a free review on Visions Libres Magazine / VL Editions on www.issuu.com. / Magazine Print-Edition on www.peecho.com

Visions Libres Magazine / VL Editions est une collection d'art contemporain et photographique. Le magazine est un espace d'exposition ouvert Ă tout aspect photographique et artistique.

Les ĂŠditions du magazine Visions Libres sont visibles en ligne gratuitement sur www.issuu.com. / La Version papier est disponible sur www.peecho.com

EditionS

Vl

The Print-Issue VL Editions is available on www.blurb.com

La version papier de ce magazine est disponible sur www.blurb.com.

Join in and share your art. www.facebook.com/groups/583971975064919

S N O I S i V M

Inside The Art Of Destruction | e zin ga Ma re ltu Cu d an t Ar e Th

libres

THE ART OF REBIRTH

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