Visions libres #9 Illusions of Reality by Louisa Dawn / Visions libres

ONS USIIT ILLA Y OF RE L

ViSIONS M

libres

The Art and Culture Magazine |

Inside Illusions of Reality

Cover: Udell Cizar JimĂŠnez / Back-Cover: Yann Cielat

LETTER from the editor »ere’s more to us than the snivelling, snarling organism that craves power and approval. e clarity and contentment we seek lies deep inside us all.« e more we explore these »new science« avenues, the more illusory our universe seems to be. I feel that we must again look at some Eastern concepts because they seem to be more and more relevant as we explore the mysteries of »new« science. is next observation should be viewed in a very general open minded way. It is not intended as any kind of conclusive proof, but purely as a glimpse of something which may help in our search for clues. In the field of higher mathematics we find Godel’s theorem. In very simple terms, it states that it is not possible to know everything about a particular situation from within that situation. In other words, one must be in a position outside the arena of specified activity. As our viewpoint of a particular situation widens, there will always be an even deeper perspective which will give yet more information. It is not possible in the rational world to reach that point where the highest perspective has been reached. What is reality? Merely conditioning, based on beliefs? Or something more? e real reality is within. What you see is an illusion, and only reflects what your brain is capable of showing you via its own mechanisms. Technically and physiologically speaking, you’re unable to see the truth that you live in an illusion that can equally imprison or free you. Is there such a thing as a true reality – perhaps the whole world is a dream or a dance of consciousness dreaming itself alive. Similarly, the physical world is real, you and I are real, but like the mirrors in a fun house, our material senses distort our perceptions. Being oblivious to this built-in imperfection, however, we take our distorted perceptions as reality. Since we rely on our senses all the time for access to the external world, we’re no better oﬀ than a person trapped in a house of mirrors. We’re continuously in illusion. What is real? e Illusion, the Reality or both? Both is depending on eachother.

Have Fun and enjoy »VISIONS LIBRES« Louisa Dawn

CONTENT FEATURES Udell Cizar Jiménez / Campaign against Violence

006_023 Cem Ulug / »I have explored myself almost everywhere« 041_057 Jeremy Clausse / »Liberté, Égalité, Fraternité« 058_063 ArtKhai meets Mukti Echwantono / »Reflections« 084_105 Mai Saki / »Walk of Shame« e Exodus of Refugees from Syria and Middle East.

184_209

Laurent Baheux / »e Family Album of Wild Africa«

228_235

SOUND CORNER TULSA / Fresh and crispy Rock from Bordeaux

024_025

POETRY DISTRICT Anna Kazmierczak with Photography by Shirren Lim / »e Biggest White Flag in the World« 038_041 Mike Lee / Gave It Up For Lent

106_109

Anna Kazmierczak with Photography by Shirren Lim / »Your Forever« 236_237

ARTLIFE Collaboration of ArtMeIn and Visions Libres Magazine / Exposition of the Winners of the first Photo-Contest 148_155 by ArtMeIn and Visions Libres Magazine

PARTICIPATING ARTISTS Alex de Groot: www.facebook.com/alex.degroot.161 / Alexandra J. Braun: www.facebook.com/profile.php?id=100010187044474, www.facebook.com/Ellexbrownphotography-1610932569168932 / Analua Zoé: www.facebook.com/analua.zoe / Andrea Minichini: www.facebook.com/andreaminichini1957 / Angie Stergio: www.facebook.com/angiestergio12 / Anna Kazmierczak: www.facebook.com/SekretAnka / Antoine Delsolit: www.facebook.com/antoine.delsolit / Anuschka Wenzlawski: http://aw-fotoart.de/, www.facebook.com/awfotoart / Art Khai: www.facebook.com/artphotography.khai / artMEin: www.facebook.com/artmeinphoto, www.facebook.com/profile.php?id=10001034974114 / Cem Ulug: www.facebook.com/cemulug.artistberlin / Claudia Griebl: www.facebook.com/cege777 / Claudia Pomowski: www.facebook.com/claudia.pomowski / Claudio Lorenzoni: www.facebook.com/claudio.lorenzoni.12 / Dadu Phoenix: www.facebook.com/dadu.phoenix / Damon Jah: www.facebook.com/damon.jah / Daša Ščuka: www.facebook.com/dasa.scuka / Davide Capponi: www.facebook.com/davide.capponi / Debashish Ghosh: www.facebook.com/debashish.ghosh.7965 / Didier Gaillard: did.gaillard@laposte.net / Didier Mignon: www.facebook.com/Didier.Mignon.Photographe / Edwige K. : www.facebook.com/edwige.lereste / Egon Hungerbühler: www.facebook.com/egon.hungerbuhler / Federica Corbelli: www.facebook.com/federica.corbelli / François Ferry: www.facebook.com/lemondeautrement / Gino Riego Esmeria: www.facebook.com/gino.esmeria / Ivan Fei: www.facebook.com/ivan.bdrphotography / Jean-François Dupuis Photographe: www.facebook.com/jeanfrancoisdupuis.photographe / Jenny Papalexandris: www.facebook.com/jenny.papalexandris, www.facebook.com/JennyPapalexandris.OnPhotography / Jeremy Clausse: www.facebook.com/jeremy.clausse.3 / Joe Josephs: www.facebook.com/joe.josephs.7, www.facebook.com/joejosephsphotography / Jos Tontlinger: www.facebook.com/j.tontlinger / Juha Forsberg: www.facebook.com/juhaf / 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 / Kureiji Jeyro: www.facebook.com/jeanyves.rousson.3 / Ladjo Persot: www.facebook.com/ladjo.persot / Laura Simonsen: www.facebook.com/laura.simonsen.58, www.facebook.com/Laura-Simonsen-Photography-664472900297892 / Laurent Baheux: www.facebook.com/laurent.baheux, www.facebook.com/LaurentBaheuxPhoto / Laurent Hette: www.facebook.com/laurent.hette, www.facebook.com/Laurent.Hette.Photography / Lino Rusciano: www.facebook.com/lino.rusciano.5 / Lionel Cosson: www.facebook.com/lionel.cosson.7 / Mai Saki: www.facebook.com/maisakiart / Marie-Pierre Lambelin: www.facebook.com/marie.ilford / Maurizio Rossi: www.facebook.com/maurizio.rossi.9 / Michele Ciriali: www.facebook.com/michele.ciriali / Milad Safabakhsh Photography: www.facebook.com/miladsafabakhsh, www.facebook.com/miladsafabakhshphotography / Martial Rossignol: www.facebook.com/martial.rossignol.photographe / Meirav Ben Moshe: www.facebook.com/meirav.aharony / Mike Lee: www.facebook.com/mike.quinam /Mukti Echwantono: www.facebook.com/mukti.echwantono / Nigel Maudsley: www.facebook.com/nmaudsley / Olga Karlovac: www.facebook.com/olga.karlovac / OO Lam: www.facebook.com/fotor.lam / Peder Aresvik: www.facebook.com/peder.aresvik / Phil Mckay: www.facebook.com/phil.mckay.33 / Rick Tardiff: www.facebook.com/rick.tardiff / Rodica Tanase: www.facebook.com/rodica.tanase.79 / Sammy Sharon: www.facebook.com/sammysharon / Sandra Sachsenhauser: www.facebook.com/sandra.sachsenhauser, www.facebook.com/sasaphotographyart / Sebastian Ostafin: www.facebook.com/sebastian.ostafin / Shirren Lim: www.facebook.com/shirrenlim / Sillon Sillon: www.facebook.com/profile.php?id=100009065779543 / Silvana Rogazione: www.facebook.com/silvana.rogazione / Sookie Sirene Hannaas: www.facebook.com/SookieSirene / Stefano Assisi: www.facebook.com/stef.realvamp / Sze Leung: www.facebook.com/sze.leung.50 / Taras Bychko: www.facebook.com/taras.bychko, www.facebook.com/tas0ma / Udell Cizar Jiménez: www.facebook.com/udellcizar.jimenez / Valerie Simonnet: www.facebook.com/simonnet.valerie / Viola Ursu: www.facebook.com/vivi.ursu / Yann Cielat: www.facebook.com/ycielat, www.facebook.com/yann.cielat / Yolanda Girón Gutiérrez: www.facebook.com/yolanda.girongutierrez / Zuzka Praha: www.facebook.com/profile.php?id=100005116245929 / しずがみ健司: www.facebook.com/profile.php?id=100009611110066 / Ана Аврамоска: www.facebook.com/Anas-Photography-Other-135271146624183, www.facebook.com/AvramoskaAna

Udell Cizar Jiménez

CAM PAIGN AGAINST VIO LENCE 06/07

In MĂŠxico since decades ago we live on with violence, the drug war has not stopped.

08/09

î&#x201A;ťe kidnapped and missing every time are more and abuse against women is increasing.

at will be our life? ... Lately the war of ISIS and the attack on Paris got us all thinking, what really is the fate of humanity? Where are we going with so much violence? ese are questions that I ask Myself every day and I do not even find the answer.

Enforced disappearance in Iguala, 2014 Ayotzinapa 43 students missing in Mexico. It was a series of violent incidents that occurred during the night of September 26 and the morning of September 27, 2014, in which the municipal police of Iguala (220 km south of Mexico City) chased and attacked students Rural Normal School Ayotzinapa (257 km southeast of Iguala). In this confrontation they would come damaged journalists and civilians. e incident le a toll of at least 9 people dead, 43 missing students that normal rural school and 27 injured.

10/11

12/13

î&#x201A;ťe attacks in November 2015 Paris where several terrorist attacked in the evening of November 13, 2015 in Paris and its suburb of Saint-Denis, perpetrated mostly by suicide bombers in which 129 people died and 415 were injured. A shootout at the restaurant Petit Cambodge in the 10th arrondissement of Paris, is leî&#x201E;&#x2014; at least four dead. A second shooting took place at the Bataclan î&#x201A;ťeater in the 11th arrondissement of Paris, with at least 100 hostages.

14/15

16/17

Femicide in Argentina in the last seven years were over 1800 femicide in Argentina, being the province of Buenos Aires which heads the list with 91 murders. And Cordoba the escort with 21 crimes.

18/19

20/21

La Casa del Encuentro released statistics on the number of femicides that occurred in Argentina. In Argentina, in 2014, 277 women were killed and according to estimates by La Casa del Encuentro, every 32 hours there is a femicide in the country.

9 out of 10 cases of domestic violence, the aggressor is the partner or former partner of the victim. Of the 277 killed, 39 had made previous complaints and four had orders excluding the perpetrator. Many of these women lived with the attacker and most had to report it more than once.

22/23

Of these events that I have heard and friends have experienced I decided to do this

campaign against violence

itâ&#x20AC;&#x2122;s my way of saying that we have to think where are we going,

we have to change the way of thinking, there must

be a dialogue

not everything must be arranged with violence, because we are human beings

care about others way of shouting change the world to a better one .

and we must

î&#x201A;ťis is my

what I think and conscience

people who see my work to

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

Sound

©Nino Laisné / Chambre 440

24/25

En 2010 Elise et Bérénice créèrent les bases de Tulsa. L'année suivante, Kévin et Clément déploient toute la richesse du duo avec des rythmes et mélodies sortis du whisky de Tom Waits. Minimaliste, épuré, le folk-blues de Tulsa laissent place à l'émotion. Brut mais pas cru, sombre mais pas déprimant. Des guitares sans fard, des choeurs envoûtants, leur blues caverneux fait merveille.

2013 puis Onze en 2014, ils sont actuellement en train d'enregistrer leurs dernières créations qui seront mises en ligne sur Bandcampdébut 2016. Tout ce que l'on peut en dire pour le moment, c'est que Tulsa a cherché une fois de plus à surprendre et saisir, à prendre le temps de chercher d'autres sons, à attiser encore un peu plus la braise de leur humble volcan.

En passant par La Boule Noire (Paris ) , le Nancy Jazz Pulsations, les Francofolies de La Rochelle ou encore Musilac pour ne citer que ces scènes françaises, c'est en 2014 que le groupe est invité par Détroit pour ouvrir le bal de leur tournée sur quelques dates qu'ils clôtureront à La Cigale. Après avoir enregistrés deux E.P., Tulsa en

Membres : Bérénice Pouplet: Chant, guitare,piano. Elise Cattuti: Basse, chant, guitare, piano, batterie. Clément Bernardeau: Guitare, banjo, glockenspiel, choeurs. Kévin Malfait: Batterie, piano, basse, choeurs.

DISCOGRAPHY

»Onze« Release: Jan. 2015

»Tulsa (extrait EP)« Release: March 2013

PHOTOGRAPHY BY MARINE MUNOZ

In 2010 Elise and Bernice created the foundations of Tulsa. e following year, Kevin Clement joined the band and deployed all the wealth out of the duo with rhythms and melodies of Tom Waits. Minimaliste whiskey, uncluttered, the folk-blues of Tulsa give way to emotion. Crude but not raw, dark but not depressing. Unvarnished guitars, captivating vocals, blues cavernous their wonders.

News sounds will be released soon in 2016

Contact and Booking: http://tulsageorges.bandcamp.com/ www.facebook.com/tulsamusic http://www.youtube.com/user/tulsavideo

Corner

Illusions »A Dream within a Dream«

by Rodica Tanase

26/27

of by damon Jah

Rea lity

by Jos TondlingeR

28/29

by nigel maudsley

î&#x201A;ťe prophecy

by milad safabakhsh PhoTogRaPhy

by kazuyuki shimokawa

by edwige k.

30/31

by edwige k.

by PhoTogRaPhies d. mignon 2005 32/33

by kazuyuki shimokawa

by edwige k.

34/35

by kuReiJi JeyRo

by maRTial Rossignol 36/37

by TaRas bychko

Poetry District anna h. lucy kazmieRczak

PhoTogRaPhy by shiRRen lim www.flickr.com/photos/shirrenlim

»laTely i have been losing sleeP«

»The Biggest White Flag in the World« ere is no upfront plan or schedule for the first snowflakes to

that what they do is meaningful. all they look for is turning the

fall. not everybody knows that these tiny pieces of iced water

world into one, big white surface. e snow does not really wait

have their own busy agendas and diaries governed by the sky. e

for you to notice how amazing it actually is, it does not have time

tiny masterpieces shaped carefully by the mother nature are

to waste, as the time is not on its side. you can decide whether

goal-oriented, don’t have “second thoughts”, strongly convinced

you want to call it “magic”, a ‘white cotton candy’, ‘e biggest white flag in the world’ – or just ‘the snow’ because for you it is nothing more than billions of ice crystals.

38/39

and here’s the unseen truth about snowflakes – the brothers and

you can count on snowflakes. ey will come in the winter,

sisters of the summer rain. Just like the street artists that repeat

sooner or later – like they always do. ey have nothing to do

tirelessly an ordinary miracle in front of us and the rest of the

with the people that leave you when your business fails, when you

rushing world. ey want to create something spectacular

no longer seem like a good investment. e beauty of snowflakes

without looking for applause, recognition or standing ovation.

is that they don’t ask for anything return.

e silent contributors to the beauty of the world usually

e great things about the ice crystals is that they could

appear ‘when the time is not right’. and when is that? for

remind you all the precious the dreams you’ve once had and

instance – during “one of these mornings” when you have already

thought that since they weren’t breathing – they were dead. but in

forgotten that the world surrounding you is amazingly beautiful.

fact, your dreams are just like a wood frog, hamsters or bears.

when you no longer believe that there is still so much magic

ey go into a deep sleep in the wintertime. when it gets cold in

around you. e snowflakes bring nothing but a pure joy and

your heart they hibernate so they can survive throughout the cold

happiness when you have thrown your dreams away just like an

season. and hibernation is a truly clever survival mechanism

old book you know for sure you’ll never get to read again.

that gives the chance for a re-birth. so your dreams just like the

it’s hard to believe – but these little snowflakes have the power to actually make it all up to you. at first you get so carried away by their sudden appearance. at makes you forget for a little while

sleeping deer mice still have the ability to wake up to a better, more welcoming reality. now, for once – be honest to yourself – is there any reason to

the broken relationships, the missed chances and disappointments.

be afraid of the falling snowflakes? will you use an umbrella to

who would care for having a broken heart if the seasons change,

protect yourself from them or would you rather be open for them.

the life goes on and if there is still so much to be seen.

you should not worry – they snowflakes won’t tell anybody about your loneliness, your feeling of being alone in the universe. and

»And I just got broken Broken into two Still I call it magic When I'm next to you«

there is nothing really that you need to explain them. if you’re wondering how would it feel to be transformed into a snowflake – think of ballet dancers or choir singers and their emotions few seconds before the show starts. imagine the electricity that is telling you that you are about to participate in something unforgettable.

»on The ouTside«

Continue reading on the next page. ➢

Poetry District anna h. lucy kazmieRczak PhoTogRaPhy by shiRRen lim who are these people? is there any algorithm for spotting them, finding them and getting close to them? unfortunately there is no “recipe” for the true enlightenment. sometimes they turn out to be these “beautiful strangers” sitting on the chair next to you during a long awaited poetry reading. ey might as well have just moved in next door and are quite close to you but you just never had the chance to meet them. and this unfortunately not going to change as long as you refuse to change your old habits. how can you expect meeting somebody on the stairs if you always use the li? here’s another thing. all about snowflakes is spectacular. e way they talk, the way they look at you, the way they turn random words into an inspiring sentence. ey are attractive, »bReaThe me«

appealing in their own, quite an extra-ordinary way. eir eyes say more and their face expresses more. but you can’t read them like an open book.

»Brothers and sisters unite It’s the time of your lives, it’s the time of your lives Break down, break down Got to spread love around, got to spread it around« do you really want to know what happens in the moment of meeting with people as beautiful and pure as the flakes of snow? before you get t open your mouth to say ‘hi’ or ‘hallo’ – you would hear the echoing words of Radar from an old us series called m.a.s.h. “ings don’t happen until they do”. is event will change the shape of things that you called “problems and obstacles”. if you lost your passion – they will make you feel “hungry for life”, increase your desire to explore the world.

40/41

»moon as my wiTness«

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. Since September 2015 Anna has written exclusively for VLM. Her poetry and prose is inspired by the work of contemporary visual artists.According to Anna the goal of literature is to unfold the »bare truth« behind the most common dilemmas of being.

»on The cusP«

ere is no deny that simple ‘being around’, listening to their

they keep inside – into you. but that happens only if your mind

words strikes you and makes you notice a sort of “halo” – a glow

and heart is open for all that they’ve got to say.

of lights above their heads. something that finally explains the visions of all the Renaissance painters and old Prophets. e big question is – how to distinguish that kind of person

e big question is –would you be able to notice the biggest white flag in the winter wonderland? would you see it all as a precious piece of art, as one, big, magnificent illusion? would you

from the “mass”, from the thousands and millions ordinary people

call it magic? or would the snow remain nothing but the snow.

you meet during your life. it’s actually easy. you recognize him or

if you put the radio on now – you’ll hear a song by coldplay that

her by a sudden and unexpected joy and enlightenment. once met

might give you some clues:

– they make you feel blessed as you get to deal with somebody from the rare species that an american doctor and writer e. kubler-Ross described in magnificently in one of her books: “beautiful people don’t just happen. ey have known defeat, known suﬀering, known struggle, known loss, and have found their way out of the depths. ese persons have an appreciation, a sensitivity, and an understanding of life that fills them with compassion, gentleness, and a deep loving concern.” ere is one more thing that makes these people ‘special’ – they are“ the givers” that have the ability to transfer all the good things that

»I fall so hard And I call it magic And I call it true (...) Still believe in magic Oh yes I do Oh yes I do«

Shirren Lim is a Malaysian photographer living in Jakarta, Indonesia. She took up photography in 2009, as she thought it would be an interesting habit, later she discovered it as her true passion. Shirren loves portraitures best. With her photo-taking, she tries and do justice to capture humanity in its many forms. Shirren’s work has been described as intense and earthy with her simple composition cutting to the heart of the subject matter. She believes, someday, she is able to capture that one moment that could change the world. Her work has exhibited and also appeared in several web and printed magazines.

ÂťWladimir MajakovskiÂŤ Analoge Collage 42/43

Cem Ulug

Âťi have exPloRed myself almosT eveRywheReÂŤ

conTacT: http://theartstack.com/artists/cem-ulug

www.facebook.com/cemulug.artistberlin

»Wandelnde Seelen«

44/45

3 Adjektive welche Cem Ulug beschreiben?

ree adjectives describing Cem Ulug?

PeRfekTionisTisch, diRekT, heRzlich.

PeRfecTionisTic, sTRaighT, coRdial

Wer würdest du sein und was würdest du tun, wenn es in deinem leben keine Fotografie/ Collagen geben würde?

Who would you be and what would you do, if in your life there was not your Photography / Collages?

ich denke anTiquiTäTenhändleR.

i Think, ThaT i would have become an anTiquaRy.

Analog Work on Vintage Photo

Welche waren deine wichtigsten Erfahrungen in deinem künstlerischen leben, der Größte Erfolg und das Größte Debakel?

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any?

die assisTenz bei Thomas ziPP, meine eRsTe aussTellung in beRlin und deR übeRwälTigende zusPRuch! ich waR im sommeR bei deR nyc PRide aRT & film fesTival eingeladen und mussTe wiedeR absagen, da ich aus zeiTgRünden kein visum bekommen häTTe.

The assisTance Time aT Thomas ziPP. my fiRsT exhibiTion in beRlin and The oveRwhelming feedback. lasT summeR i was inviTed To The nyc PRide aRT & film fesTival buT i had To ReJecT, since i was noT able To geT a visa due To Reason of Time.

»Veteran« Mixed media on linoleum

46/47

Welche waren deine wichtigsten Erfahrungen in deinem künstlerischen leben, der Größte Erfolg und das Größte Debakel?

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any?

»Ozon« Analog Work on Vintage Photo

Warum machst du das, was du tust?

Why do you do what you do?

es isT das vehikel meineR emoTionen. nichTs habe ich bislang miT dieseR leidenschafT gemachT. es isT deR ausdRuck meineR selbsT und TheRaPie.

iT's The vehicle of my emoTions. so faR, i have noThing done wiTh ThaT Passion. iT is The exPRession of myself and TheRaPy.

»Devot« Analog Collage 48/49

»Star Collector« Analog Collage

Wie arbeitest du?

How do you work?

ich sammle PeRmanenT. hisToRisches auf beRlins flohmäRkTen, beim TRödleR um die ecke odeR ich eRsTeigeRe übeR ebay meine gRundlagen füR die collagen. nachdem lesen Reisse ich eRsT einmal alle seiTen Raus die ich gebRauchen könnTe und schau miR dann ein PaaR Tage nuR die bildeR an die ich füR meine aRbeiTen veRwenden weRde. danach wiRd nuR das zusammengeseTzT, was zu 100% PassT. ich habe collagen die daueRn 2 minuTen und andeRe die daueRn wochen, monaTe, JahRe

i am PeRmanenTly collecTing. hisToRical sTuff aT beRlin's fleemaRkeTs, aT secondhand dealeRs oR anTiquaRies aRound The coRneR oR PuRchasing aT ebay my basics foR my collages. afTeR Reading, i TeaR ouT fiRsT all Those Pages, which i could need. Then i examine foR a couPle of days only The PicTuRes i will use foR my woRk. afTeR ThaT only Those PaRTs aRe assembled, which fiTs 100%. i have collages, which Took me some minuTes, oTheRs RequiRes weeks, monThs oR even yeaRs.

»The face of war« Analog Collage

»Leacoon Group« Analog Collage

50/51

Was ist deine Herkun? Papa? Mama? Wo geboren? mein veRsToRbeneR sTiefvaTeR waR musikeR, meine muTTeR leiTeT eine musikschule und zu meinem leiblichen/ RichiTgen vaTeR hab ich so guT wie keinen konTakT mehR. ich bin in isTanbul geboRen, abeR in beRlin gRossgewoRden.

Was ist das wesentliche bei der Arbeit eines Künstlers?

What’s your background? my dead sTePfaTheR was musician, my moTheR is Running a music school and To my biological faTheR i have neaRly no conTacT anymoRe. i was boRn in isTanbul, buT i gRow uP in beRlin.

What’s integral to the work of an artist? an aRTisT exPResses his ThoughTs and emoTions, while Releasing Them simulTaneously.

ein künsTleR dRückT seine gedanken und gefühle aus und befReiT sich gleichzeiTig von ihnen.

»REDRUM« Analog Collage

»Der Glaube an Gott« Analog Collage 52/53

Welche Rolle hat der Künstler in der Gesellscha? deR künsTleR sollTe insPiRieRen, eRfReuen odeR PRovozieRen. besTenfalls sollTe eR die menschen anRegen und ihR (deR gesellschafT) zunuTze sein.

What role does the artist have in society? The aRTisT should insPiRe, delighT oR PRovoke. aT iTs besT he should encouRage The PeoPle and be avail foR The socieTy.

What’s your favorite art work? Welches ist dein Lieblings Kunst-Objekt? von meinen eigenen weRken mochTe ich am meisTen »deR einsame kRanke,« welches ich nach 64 sTd nonsToP an 11 collagen aRbeiTend, veRsehenTlich so »ToTübeRaRbeiTeT« habe, dass es seine schönheiT veRloR und konTRasTlos wuRde. aus TRaueR und wuT übeR den veRlusT dieseR aRbeiT, enTsTand übeR dem alTen weRk eine neue collage.

»Origin of the milky way«

fRom my own woRk i i liked mosT »deR einsame kRanke«, which i have RewoRked oveR and oveR again To »deaTh« by misTake, afTeR woRking moRe Than 60 houRs non-sToP concuRRenTly on 11 collages, unTil iT losTs iTs beauTy and meaning To me. wiThin This mouRning and Rage abouT The iRRecoveRable loss a new collage (»backsTage«) evolved on ThaT same woRk.

»Untitled« Analog Collage

Analog Collage

Beschreibe eine Real-Life Situation, welche dich inspiriert hat.

Describe a real-life situation that inspired you?

da gibT es viele. mich insPiRieRen menschen, die eine geschichTe zu eRzählen haben, schon einiges eRlebT haben und die das leben gezeichneT haT.

TheRe aRe PlenTy of. i am insPiRed by PeoPle, who can Tell a sToRy oR have exPeRienced alReady a couPle of Things and have been maRked by TheiR life. and TheRaPy.

»L.E.« Analog Collage

Welche Jobs hast du gemacht bevor du Künstler geworden bist?

What jobs have you done before working as artist?

ehRlich gesagT hab ich mich schon fasT übeRall ausPRobieRT. abeR nie dachTe ich, dass dies meine beRufung wäRe: RaumaussTaTTeR, baRkeePeR, koch, bühnenbau.

honesTly sPoken i have exPloRed myself almosT eveRywheRe. buT i neveR ThoughT, ThaT This could be my TRue calling: inTeRioR decoRaToR, baRkeePeR, cook, sTage consTRucTion.

Was ist eine künstlerische Ansicht des Lebens? füR mich isT es in eRsTeR linie die befReiung von zwängen

Welche denkwürdigen Reaktionen hast du bisher zu deinen arbeiten erhalten? ein galeRisT in beRlin hob in eineR ansPRache eineR gRuPPenaussTellung meine aRbeiTen als heRausRagend besondeRs heRvoR. ich waR deR neuling und deswegen sehR geRühRT.

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What is an artistic outlook on life? foR me iT is fiRsT and foRemosT The libeRaTion fRom ResTRainTs.

What memorable responses have you had to your work? a galleRy owneR in beRlin emPhasised in his sPeech To a gRouP exhibiTion my woRk as ouTsTanding. i was The newcomeR and TheRefoRe deePly moved. and TheRaPy.

»Dress-Funk« Analog Collage

Welches Essen, Getränk, Song inspiriert dich?

What food, drink, song inspires you?

buTTeRzaRTes angus RindeRfileT medium RaRe , wasseR, RoTwein, malT whisky mag ich geRne. abeR insPiRieRen wüRde mich eheR klassische und elekTRonische musik.

a TendeR To The coRe fileT of angus beef medium RaRe, waTeR, Red wine, malT whisky ThaT's whaT i like. buTi am insPiRed RaTheR by classic and elecTRonic music.

Ist ein künstlerisches leben einsam? Was machst du dagegen?

Is the artistic life lonely? What do you do to counteract it?

wenn man 42 sTunden duRchaRbeiTeT schon. ich aRbeiTe einfach weiTeR.

of couRse if you woRk foR moRe Than 40 houRs. i JusT conTinue woRking.

Sollte Kunst gefördert werden?

Should art be funded?

unbedingT. geRade queReinsTeigeR fehlen häufig die RichTigen konTakTe, know how und das kaPiTal.

absoluTely ! esPecially caReeR changeR aRe missing The necessaRy conTacTs. know-how and The caPiTal.

Was macht dich wütend ?

What makes you angry?

ungeRechTigkeiT. übeRheblichkeiT. unzuveRlässigkeiT.

inJusTice, haughTiness, unReliabiliTy.

Welche Recherchen machst du? allumfassende. sie Reichen von kunsTbiblioTheken, übeR wikiPedia, beim TRödleR genauso wie auf diveRsen social media kanälen.

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What research do you do? all encomPassing.The Range sTaRTs fRom aRT libRaRies oveR wikiPedia To anTiquaRy as well on vaRious social media channels. and TheRaPy.

Welche übernatürlichen Kräe hättest du gerne und warum?

What superpower would you like to have and why?

die gehiRne deR menschen zu beeinflussen. so könnTe ich die welT ein bisschen mehR nach meinem gusTo kReieRen.

influence The bRain of The PeoPle, so ThaT i could TuRn The woRld a liTle biT moRe accoRding To my TasTe.

Benenne etwas, was du liebst und warum?

Name something you love, and why.

ich liebe es, sonnTags auf den flohmäRkTen meine schnäPPchen zu schlagen. ich kaufe geRne alTe odeR anTike dinge und RecheRchieRe daRübeR. es isT wie ein RäTsel zu lösen und einen schaTz zu finden. alTe schRifTdokumenTe faszinieRen mich.

i love iT To gRab a baRgain on sunday's fleemaRkeTs. i like To buy old and anTique sTuff and do a ReseaRch abouT ThaT. iT is like solving a Riddle and find a TReasuRe TRove. old wRiTTen documenTs aRe fascinaTing me.

Name something you don’t love, and why.

Benenne etwas, was du nicht magst und warum?

waR, dicTaToRs, child abuse and RaPe.

kRieg, dikTaToRen, kindesmisshandlung und veRgewalTigung.

What is your dream project?

Was ist dein Traumprojekt?

a Really amazing exhibiTion in a well ResPecTed museum duRing my lifeTime ;)

eine wiRklich Tolle aussTellung in einem RenommieRTen museum. zu lebzeiTen ;)

Was ist dein nächstes Projekt?

Finally, what are your next projects?

ich hoffe, die aRT basel in miami beach. ich habe JeTzT auch mein visa.

i hoPe The aRT basel in miami beach. i Recieved my visa finally.

»Jede Blume sagt Dir meine Liebe« Analog Collage

JEREMY.CLAUSSE » SEEN FROM THE OUTSIDE, ANY SYSTEM SEEMS THE PRISON OF THE SPIRIT; SEEN INSIDE, IT IS A WORLD.« VICTOR HUGO

Liberté

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t is Friday ... a Friday, November 13th, 2015 on the planet. A series of shootings and attacks-suicide murderesses strikes France. Claimed by the terrorist organization Islamic State (said »Daech«), these attacks aim at our way of life and values. On November 14th, 2015, the total balance sheet of the victims states 129 deaths and 352 wounded persons, among whom 99 in absolute emergency situation. A wounded person dies a few days later. Due to the total number of victims, these attacks are the most murderous committed in France since the Second World War and the second in Europe aer 191 deaths of the attacks of Madrid of March 11th, 2004. According to several specialists of the Middle East or the terrorism, about these terrorists »all are carried by an idea of regeneration and a life of asceticism controlled by the police of the customs«. Questioned aer attacks, the anthropologist Scott Atran considers that the candidates for the terrorism are psychologically moldable, what take advantage the recruiters of Daech, who succeed in using their personal story, their frustrations, their complaints and their aspiration, in a way that they convert these a global cause, »what makes that the personal frustration generalizes in a moral indignation«. According to Olivier Roy, political analyst specialist of the Islam, the western jihadists are before any nihilists: »ey never represent a tradition which would rebel against the westernization.ey are westernized, they better speak French than their parents. All shared the »young« culture of their generation, they drank some alcohol, smoked some hash, tried to pick up the girls in nightclub. A big part of them made a passage in prison. And then beautiful morning, they are converted, by choosing the Islam salafi, that is an Islam which rejects the concept of culture, an Islam of the standard which allows them to reconstruct alone. Because they do not want either of the culture of their parents or a »western« culture, become symbols of their self-loathing. []« Targets: a friendly match of soccer, terraces of coﬀee and restaurant, a concert in a theater. But then the culture and the creation they are liable to death?

»TO CREATE, IN THE ORDER OF THE FLESH, OR IN THE ORDER OF THE SPIRIT, IT IS TO GO OUT OF THE PRISON OF THE BODY. TO CREATE IT IS TO KILL THE DEATH. « ROMAN ROLLAND

e art is oen understood as a comment, as a reflection on the society. As observers, the artists are capable of tightening us the mirror of our acts, our faiths and our political systems. Directly paid into the esthetics, they are also capable of rejecting our way of perceiving our environment, or even of questioning the certainties of their predecessors. Presented to the view of all, the art has the possible and particular possibility of polarizing and of offending. e artists continue to face the censorship of the political and religious authorities, the protesters themselves and, sometimes, the gallery owners. e recent ban on works in countries as Syria and Russia makes obvious the current difficulties met by artists who, deliberately or not, produce provocative works. Nowadays, count of works considered as exemplary or exceptional were originally the object of censorship on behalf of the political or religious faces which judged their inappropriate or offensive contents. During 1600s, Michelangelo’s frescoes aroused a flood of criticisms scandalized on behalf of the visitors, who saw point of the talent, but the obscenity there. About the work, the poet and the satirist Pierre l’Arétin wrote: »Is it possible that you, so divine as you deign to see frequently the people, committed such an act in God’s highest temple? Over the first altar of Jesus? Not even to the mess are scenes as yours …« Centuries aer the characters of Michelangelo were dressed in strength, the nudity however continued to shock the public, because of new styles of creation and approaches different from the face immortalizing the vision of the body as a ground of fight. Continue reading on the next page. ➢

Égalité

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»IT IS IN THE PRISONS THAT THE IDEA OF FREEDOM RAPES MOST AND MAYBE THOSE WHO LOCK THE OTHERS INSIDE THEY RISK TO LOCK THEMSELVES OUTSIDE.« JEAN COCTEAU e photographer Ammar Abd Rabbo presents a little bit special series of nudes, in a Lebanese gallery. To by-pass the »puritanical« censorship of the Middle East and fight against stereotypes, he covered the private parts of Arabic calligraphy. His intention? Denounce the »puritanical« censorship, as much in the Middle East as on certain social networks, as he explains it: »on Facebook, this censorship is sometimes ridiculous: they hide breasts or nipples in the name of the« protection of the children«, but leave images of corpses, armed men, violence, without it moves whoever it is«. On bodies, we can read for example a verse extracted from the »mystic Poems« of Mansur al-Hallaj, Persian poet of the IXth century: »my religion is for me, and the religion of people for people«. e declarations of this Sufi poet had been considered, at the time, very too liberal and were worth to him being condemned to death … e censorship oen accompanies parts which contain the annoying truth, reacting to a political injustice, to a conflict or to an ethics. In the regions where the political decisions see each other in narrow correlation with a controlled propaganda, the artists who try to divert forms accepted by the production of images constitute a threat, that of the danger and the unknown, capable that they are to shake the ruling strengths by revealing the truths kill. Where the work is censored, the media body can react first of all by drawing more the attention on the implications for human rights and right to freedom of expression.

»THERE ARE NO LIMITS WITH THE HUMOR WHICH IS IN THE SERVICE OF THE FREEDOM OF EXPRESSION BECAUSE, WHERE THE HUMOR STOPS, VERY OFTEN, THE PLACEIS LEFT TO THE CENSORSHIP OR TO THE SELF-CENSORSHIP.« CABU Whereas the occurrences of censorship in Syria, in Russia and in China result immediately from the desire of the political system to muzzle the artistic expression, examples of censorship continue to appear in usually supposed regions to promote actively the freedom of speech. France is not saved. Where political leaders want »to close doors and windows of the creation, we think in contrast that it is necessary to open them to aerate the disturbed and bruised spirits. e artists work and create. is freedom of creation is an opening in the other one, the one who is not me but who is equal to me, about are its skin color, its nationality or its religion.« e controversy which attracts the censorship lis the role of the artist in the society, and the idea that this one has to have a social responsibility. Continue reading on the next page. ➢

»RENT OR CENSOR WHAT YOU DO NOT UNDERSTAND CAN CAUSE DAMAGE.« LÉONARD OF VINCI e fact that the art is still capable of provoking political unrest, of violent debates and protests, is the proof of its power and its value. It is also the highlighting of its complexity; inextricably connected to the notions of freedom, the truth and the justice, the art seems intended to continue to draw the attention of those who would prefer it cubbyhole to the silence. It is of the responsibility of the creators (photographers, film-makers, painters, singers, graﬃti artists ...) to continue to create if only to fight against these events of November 13th, 2015 but against any forms which are similar to it and which take place every day in any place. e human being wears in him all the history of the universe and the life, because his particles appeared from the first seconds of existence of the world, because his atoms were forged in suns previous to ours, because his molecules assembled on primitive Earth to form the first unicellular organism from which, through creations and metamorphoses, go down all the alive, including the human being. e world is in us at the same time.

»TAKE THE IMAGINATION AND THE SPIRIT SOMEWHERE ELSE WITH FOR PRINCIPLE: CREATE A FOOTBRIDGE, A LINK TOWARDS THE OTHER ONE« Author French photographer, feet on Earth and the good head in stars, the three eyes are tall opened well to seize the Beauty which surrounds us. His photography – tinged with ecstasy and with fury – of dreams, falls, the truth of a found essence, its truth aims to be to create a footbridge, a link in the Other one. Born in the North of France in 1977, I shall qualify myself of visual artist. e camera began to accompany my journeys in 2001 but it is only in 2008 when I was interested in the power of the photo, in what she allows to transmit and to share. Anaïs Nin said: »the internal rooms of the soul are as the darkroom of the photographer. We cannot stay there for a long time, otherwise it becomes the cell of the neurotic«. I enough agree with this quotation. e dark camera, as the human mind possesses, one thousand secrets which it is necessary to learn to tame. What I appreciate in this means of expression, it is the possibility that allows the photography to take the imagination and the spirit »somewhere else«, beyond some centimeters of the medium of exit. e alchemy which allows this one to be born. I like using the photo manipulation to create a universe of image which shows the human being and his relationship to the world. An invitation to whom will linger in this variable-geometry geography … Jeremy.Clausse

For further Contact: www.facebook.com/jeremy.clausse.3 http://claussejeremy-photography.com/

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FraternitĂŠ

BY ANUSCHkA WENzLAWSkI 64/65

BY YANN CIELAT

BY JUHA FORSBERG

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BY NIGEL MAUDSLEY

BY LAURA SIMONSEN

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BY YOLANDA GIR贸N GUTI茅RREz

BY STEFANO ASSISI

BY LAURA SIMONSEN

BY YOLANDA GIR贸N GUTI茅RREz

BY LAURA SIMONSEN

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BY YOLANDA GIR贸N GUTI茅RREz

BY SILVANA ROGAzIONE

BY DAMON JAH

BY YOLANDA GIR贸N GUTI茅RREz 72/73

BY DADU PHOENIX

BY JEAN-FRANรงOIS DUPUIS PHOTOGRAPHE

BY NIGEL MAUDSLEY

BY JENNY PAPALEXANDRIS

BY SANDRA SACHSENHAUSER 74/75

BY MAURIzIO ROSSI

BY FEDERICA CORBELLI

BY OLGA kARLOVAC 76/77

BY FEDERICA CORBELLI

BY OLGA kARLOVAC

BY LADJO PERSOT 78/79

BY NIGEL MAUDSLEY

BY MARIE-PIERRE LAMBELIN

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BY LAURENT HETTE

BY LAURENT HETTE 82/83

BY OLGA KARLOVAC

BY ART KHAI »Untitled«

BY MUKTI ECHWANTONO »Tears and Rain« 84/85

ART KHAI »My photography is taking about as: We oen spend a lot of time listening to others, but forget to listen to our inner voice. Instead of just being the listeners, we need to also pay attention to the voices hidden deep inside our hearts and understand what we truly need. Only alone in quiet time that this voice will appear. During social interaction, communicating with our hearts are also very important. We should be aware of our inner fears, worries, and dreams.« Contact: www.facebook.com/artphotography.khai

Art Khai meets

Mukti Echwantono

MUKTI ECHWANTONO »I make a journey into myself. I want to see the world from the other side. Maybe,we’ll meet again,when we are slightly older and our minds less hectic, and i’ll be right for you and you’ll be right for me, but right now, I’m chaos to your thought and you are poison to my heart. Beauty is in the eye of the beholder … My vision of beauty is much darker and deeper then the average eye. Stories told through shadows and smoke.« Contact: www.facebook.com/mukti.echwantono

BY MUKTI ECHWANTONO »Portrait of my Absence«

ree adjectives describing Mukti Echwantono? PLAYFUL, BOOK- AND MUSIC-LOVER.

Who would you be and what would you do, if in your life there was not your photography? I WOULD STUDY MUSIC OR LEARN TO PAINT. 86/87

BY ART KHAI »Untitled«

ree adjectives describing Art Khai? INTEGRITY, EMOTIONAL & COMPASSIONATE.

Who would you be and what would you do, if in your life there was not your photography? WOULD DO SOMETHING RELATED TO ART.

BY ART KHAI »Untitled«

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any? Why do you do what you do? IN MY ARTISTIC EXPERIENCE, I DID NOT EXPERIENCE BIGGEST SUCCESS OR TOUGHEST DEFEAT YET. I DID ONCE EXHIBITED MY WORK BUT RESPONSE WAS NOT THAT GOOD. YET AGAIN, I TRULY DID ENJOYED MYSELF THROUGHOUT THE EXHIBITION. SPENDING TIME FINDING MY INNER INSPIRATION, POSITION AND REASONS FOR PERUSING MY FUTURE WORK. 88/89

BY MUKTI ECHWANTONO »Same Mistake«

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any? MY GREATEST SUCCESS WHEN MY WORK CAN TOUCH THE FEELINGS OF THE AUDIENCE, MY BIGGEST DEFEAT IS WHEN I GET IDEAS THAT CAN NOT BE REALIZED

BY MUKTI ECHWANTONO »Right where it belong«

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BY ART KHAI »Untitled«

BY ART KHAI »Untitled« 92/93

BY MUKTI ECHWANTONO »Dark Side«

BY MUKTI ECHWANTONO »I’m never be found«

BY MUKTI ECHWANTONO »I’m never be found« Why do you do what you do? I MAKE BASED ON MY FEELINGS. WHEN MY FEELINGS TELLING I WANTED TO DO SOMETHING I WILL DO WITH ALL MY HEART.

How do you work? WHEN THE IDEA CAME OUT, AND ALWAYS PICTURED IN THE MEMORY OF THAT MOMENT THAT I REALIZE IN MY WORK.

What’s your background? I’M BORN ON 22-9-1976. SINCE I WAS A CHILD I OFTEN SAW MY BROTHER PAINTING. THIS MAY INDIRECTLY AFFECT ME TO LEARN THE ART. THEN I LEARNED PHOTOGRAPHY IN 2006. I START BY PHOTOGRAPHING THE STAGE. THEN I STUDIED FINE ART GENRE. AND THAT I’M DOING TILL NOW.

What role does the artist have in society? ARTISTS HAVE THAT UNIQUE ABILITY TO ENGAGE INDIVIDUALS IN A VERY DEEP AND PERSONAL WAY. ART CAN HELP US UNDERSTAND OUR HUMANITY AND THE HISTORICAL CONDITIONS WE LIVE IN, BUT IMPORTANTLY DRAW US INTO THINKING WHETHER OUR REALITY NEEDS TO BE CHANGED.

What’s your favorite art work? FRANSESCA WOODMAN , HELMUT NEWTON 94/95

What equipment do you use? I’M USING OLYMPUS EPL2 FOR MY PHOTO SHOOTING. PHOTOSHOP & LIGHTROOM FOR MY PHOTO EDITING.

How do you work? I AM SLOWER WHEN COMES TO EDITING MY PHOTOS, BECAUSE I NEED MY PHOTOS TO SINK DEEPER INTO WHOLE FEELING IN WHAT I IMAGINE AND FIGURING THROUGH MY MIND.

Tell us about an usual day in your life. Your motivation and your approaches onto your photography. MY JOB IS A GRAPHIC DESIGNER, IT WILL OFTEN NEED IMAGINATION AND CREATIVITY TO MY WORK. THUS, I DECIDED TO INPUT TO MY PHOTOGRAPHY WORK.

What’s your background? I WENT TO COLLEGE AND STUIDED MEDIA ART & DESIGN, BUT I MAJORED IN GRAPHIC DESIGN. RECEIVED MY DIPLOMA CERTIFICATE.

What’s integral to the work of an artist? CREATIVE & IMAGINATION.

What role does the artist have in society? I THINK ART PLACE AN IMPORTANT IN SOCIETY, MOST THINGS IN LIFE INVOLVE ART FORMS IN ONE WAY OR ANOTHER. LIFE WOULD BE EXTREMELY DULL WITHOUT ART PRESENCE.

BY ART KHAI »Untitled«

BY MUKTI ECHWANTONO »Sinkin soon«

Describe a real-life situation that inspired you? WHEN YOU FEEL ALONE, ISOLATED AND LONELY.

What jobs have you done before working as artist? I WORK FOR THE EVENT ORGANIZER. 96/97

BY ART KHAI »Untitled« BY DAVIDE CAPPONI

What’s your favourite art work? I DON’T REALLY HAVE A PARTICULAR FAVOURITE PIECE OF ART WORK. HOWEVER, I HAVE A FAVOURITE ARTIST, SALLY MANN.

BY ART KHAI »Untitled«

Describe a real-life situation that inspired you? I OFTEN WOULD NEED TO INSTIL IMAGINATION AND CREATIVITY TO MY WORK. THEREFORE I DECIDED TO INPUT MY CREATIVITY TO MY PHOTOGRAPHY AS WELL.

What jobs have you done before working as artist? GRAPHIC DESIGNER, EVEN TILL DATE. 98/99

BY MUKTI ECHWANTONO »Sad Song«

BY MUKTI ECHWANTONO »at all i have 4«

BY MUKTI ECHWANTONO »Damage«

What is an artistic outlook on life? LIFE ALWAYS METAMORPHOSED LIKE CATERPILLARS PUPATE AND TURN INTO A BUTTERFLY AND RECURRING LIKE THE BIRTH INTO LIFE AND INTO DEATH ALL RECURRING, LIKES OR DISLIKES. WE ARE ALL CONNECTED IN IT INTO A SINGLE UNIT. IN EVERY DAY IN LIFE, THERE WILL BE NEW THINGS THAT WE HAVE ENCOUNTERED. ALTHOUGH THERE IS NOTHING NEW ON THIS EARTH AND LIFE IS A WORK OF THE GREATEST ART WHO CREATED GOD.

What memorable responses have you had to your work? I BELIEVE EVERYONE EXPERIENCES THE SAME THINGS IN LIFE, THOUGH NOT NECESSARILY IN THE SAME ORDER ... BUT WE ARE ALL LIVING THE SAME LIFE LESSONS ON MANY LEVELS, STRIVING FOR ALL THE SAME BASIC KNOWLEDGE ... LOVE, HAPPINESS, UNDERSTANDING 100/101

BY ART KHAI »Untitled«

What is an artistic outlook on life? THE WORLD OF REALITY HAS ITS LIMITS BUT THE WORLD OF IMAGINATION IS BOUNDLESS.

What memorable responses have you had to your work? I WAS TOLD THAT MY WORK HAS TOUCHED OR INSPIRED A PERSON / PROFOUND AND UNIQUE IS THE GREATEST COMPLIMENT.

What food, drink, song inspires you? THERE ARE PLENTY OF SONGS THAT INSPIRES ME, FOOD AND DRINKS NOT YET.

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BY MUKTI ECHWANTONO »No Reflection« What food, drink, song inspires you? I WAS INSPIRED WHEN LISTENING TO MARILYN MANSON.

Is the artistic life lonely? What do you do to counteract it? I OFTEN DO THE TRAVELING OR GOING TO THE TOP OF THE MOUNTAIN TOGETHER WITH MY FRIENDS.

Should art be funded? YES, SOMETIMES AN IDEA REQUIRES A LOT OF FUND

BY MUKTI ECHWANTONO »A song to forget«

What role does arts funding have? PERHAPS SUCH FUNDING IN AN ART BOOK, OR AN ART GALLERY OR SOME MORE SPECIFIC.

What research do you do? I SEE WHAT'S GOING ON AROUND ME WHEN THEY FEEL ALONE, LONELY AND IN PAIN THEN I DESCRIBE IT IN MY WORK.

Finally, what are your next projects? I WILL MAKE A PROJECT ABOUT THE PHASES OF ONE'S LIFE FROM THE DOWNTURN. AND HE MUST MAKE CHOICES IN ORDER TO RISE FROM THE SLUMP. I CALLED THIS PROJECT »TURN THE PAGE«. 104/105

BY ART KHAI »Untitled«

Should art be funded? YES, THE PUBLIC KNOWLEDGE TOWARDS ARTS IS DEPENDENT BY REACHING OUT TO THEM.THUS, FUNDING PLAY AN IMPORTANT ROLE.

What role does arts funding have? HELP US TO FULFILL OUR DREAM AND VISION IN GREATER ARTS WORKS.

Finally, what are your next projects? I’M PLANNING TO DO A COMBINATION OF SEA CREATURES AND HUMAN PHOTOGRAPHY.

Poetry District Mike Lee

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. 106/107

Gave It Up For Lent “i gave trust as a relationship dynamic up for Lent sometime in the 1980s, and i haven’t returned to it yet.” We sat together having dessert

Photography by Mike Lee

at café: a little cheesecake, a cup of latte, and misplaced anger. i glanced at Maddie, who peeked at her mother over her copy of A Horse and His Boy with the expression of the prematurely matured. i didn’t like this sense of my own failure to prevent that everyday cynicism from creeping in and filling the cracks that had opened in her heart, but this was the mortar she needed to harden those fissures into paste. Maddie would act out in enraged frustration sometimes, pounding her fists first on me, then herself. Marie and i had discussed therapy until one aernoon when we were taking her to the park near our apartment. Maddie ran out into the street to chase aer a Pokemon super ball she was bouncing, and i grabbed her suddenly. Crying, she wrestled herself from my grasp and ran. i chased aer her and when i caught up, Maddie began shaking, and then she told me. Marie had been beating her, smacking Maddie with an open palm, college ring turned around so as to not leave a mark. i held Maddie in my arms, stunned. As we talked, i noticed Maddie referring to her mother as Marie. i tried to correct her at first, but Maddie’s scowling face caused me to lapse into silent acceptance. Maddie was ten. at was when i fell out of love with Marie. e intention of not leaving a mark when beating Maddie was the factor. is was something that was outwardly controlled, masking an increasing lack of such: calculated, undisciplined, boundary crossing, beyond redemption and veering toward the precipice of the psychotic, a contradiction that informed a fragmenting personality. it had become all too regular in the previous year. Her job was getting stressful, but the stories she told me aer coming home from work became increasingly gamed to her favor, then unbelievable. She had problems. Marie’s chronic depression was one thing medicated, but i came to find her anger was manifesting in a diﬀerent direction as she withdrew further from us, the snotty comments and the rage becoming more than could be explained by skipping meds and time of the month. ere was the drinking, and her demands for a personal life exclusive from the family. Perhaps a mid-life crisis, maybe it was a need to find her own skin, but the way Marie expressed it with an edge of anger that seemed too immature, regressing to a level i had never seen before, made me lose trust. it was surprisingly easy – giving up all that was shared between us, compartmentalizing and, as my grandmother would say, hardening my heart to my wife. Perhaps this was the irish in me. We cry a lot, then put up stone walls to surround us. en we take action to protect ourselves, and in my case to protect Maddie. i began eschewing boys’ night with co-workers on Fridays, instead spending the evenings reading CS Lewis with Maddie while Marie went out with the girls. Continue reading on the next page. ➢

Poetry District

Mike Lee

Saturday and Sunday mornings, family time faded with Marie’s increasingly dragged-out hangovers, so i took Maddie to the park, then to the Metropolitan, spending most of our time reading silently by the Temple of Dendur’s reflecting pool before wandering oﬀ to the carousel. When the weather was warm, i took Maddie out on the pond, me rowing under the sun while she read through all the Narnia Chronicles, later a set of princess books from faraway lands, before traveling on to a young adult mystery series set in ancient Rome. One day i picked up one of the books Maddie was reading. it was about an abused orphan; it seemed rather an adult subject, but i immediately understood. ese days when Maddie opened a book, losing her psyche in daydreams and well-spoken language, i knew what was really going on inside her head. e best i could do was be sword and shield, and work with her to fashion her own. As time moved forward, Maddie would perk up like a cat scenting danger whenever she thought a statement uttered started a conflict. en, like the armadillo rolling into a ball, our girl – now becoming more mine – pun the wheels of internal responses, developing, accomplishing, concluding. Dealing. i watched as Maddie returned to her book, turning the page with a whisking sound, exhaling with the soness of her little girl’s breathing. “Do you think it was a good idea to voice that at the moment?” i was weary. For years, i had patiently ignored Marie’s blunt, oen hurtful statements. i had passed them oﬀ as twisted, semi-processed judgments sprung from an environment framed by family alcoholism, chronic illnesses misunderstood and ignored, and an abusive first marriage. i didn’t take them as seriously as i should have. She warbled absurdities. even absurdities are real. Now they only served as reminders of a poor choice i had to spend the rest of my life dealing with. Somehow, i thought to myself, i will get Maddie and myself away from this, there is no use faking it anymore, or one of us will crack and things will get bad, out of our control. i looked at Maddie reading her book. She turned her eyes up from the page and looked at me, biting her lip and nodding. i sighed, knowing she was becoming too old. i felt a twinge associated with failure, disappointment, which i

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washed down with a gulp of my latte. Coﬀee had never tasted so sour; no amount of milk and Sweet-and-Low would change its flavor. Holding it in my hands, i felt the lukewarm fluid through the glass. i placed the cup on its saucer and slid it aside on the marble table. “Are you covering this, honey?” i knew she was broke again, but went through the motions of allowing her the lie that she was a contributor. Marie stared back, expressionless, the emerald in her nose ring resembling a sore. ese days, Maddie and i were viewed by the mother, the wife, as a lost Amazon tribe. i already had my hand on my wallet; motioned to the waiter. Outside, Maddie pointed to the sky. “Daddy, look. Maybe it will snow tonight.” “Maybe, darlin’. i think they said a foot.” i brushed her hair. Marie mumbled about her putting her hood on. Maddie rolled her eyes, surrendered, allowing me to tie it with the Velcro strap. She coughed as i fastened it. Maddie and i walked toward home together. Several steps behind followed Marie, silent except to ask an obvious question that i answered tersely, without betraying much more than me feeling physically chilly. Conversations were now limited to what was missing from the pantry, whether Maddie needed snacks for school. ese were small traces of what was le of relating, communicating only what remained important to the short-term welfare. e mutual sense of increasing isolation accompanied the late fall chill. is could no longer be denied. What i gave up for Lent included that. At the corner we waited for the light to change. Maddie began walking in a circle around me, smiling all the while. is was Maddie’s ritual to make me feel better, she confided one morning shortly aer she returned to school. i liked that child’s sense of care and concern, empathy so profound. i turned to see Marie lost in her own thoughts. Maddie was decidedly not including her in the ritual circle. i stopped Maddie and pointed gently toward Marie. Maddie began walking around her. e light changed. Maddie stopped. i could tell her heart was not in the private rite. i knew the look in her eyes. i saw it in the mirror every morning while i shaved: indiﬀerence. We went home. ●

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By DiDieR GAiLLARD

By MeiRAV BeN MOSHe

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By DiDieR GAiLLARD

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By LAuReNT HeTTe

By SiLLON SiLLON

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By PHiL MCkAy

By SANDRA SACHSeNHAuSeR

By NiGeL MAuDSLey

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By PHiL MCkAy

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By kAzuyuki By PHiLSHiMOkAWA MCkAy

By SANDRA SACHSeNHAuSeR

By NiGeL MAuDSLey

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By VALeRie SiMONNeT

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By eGON HuNGeRB端HLeR

By ALex De GROOT

by Joe Josephs photography 138/139

by Nigel Maudsley

by JeNNy papalexaNdris 140/141

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by oo laM 142/143

by saNdra sachseNhauser

by yolaNda gir贸N guti茅rrez

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ARTLife

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Photo Reportage by Mai Saki

WALK OF

SHAME THE EXODUS OF REFUGEES FROM SYRIA AND MIDDLE EAST.

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As I arrived in Šid, a city in Serbia, at the Croatian border, something has been engraved deep inside me forever: the crying of the children – a soundtrack that accompanied me every day since I was there and it’s still ringing in my ear. Tears sprouted from my eyes and I cried for four days until a Syrian woman cried and I asked me why I thought my tears were useless. Everything I had thought before arriving, crumbled once I was there, so much that I questioned myself if I should continue taking pictures, this uncertainty saved me, to know that my pictures actually never can be as important as being able to help this people. So I decided to help because what is really important to me are humans. During the following days, I alternate taking pictures with helping, that was what made me feel in this big exodus, this injustice supported by the so-called first world. I felt ashamed to be European, I apologized for being. ere I met people like us. People with whom I totally identify – Architects, Engineers, Journalists, Photographers, Teachers – Humans fleeing the slaughter, as we would flee. I can not explain in words the pain and helplessness that I felt. I just hope that these pictures are more able to communicate what my words are unable to say.

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Cuando llegue a Šid, en Serbia, la frontera con Croacia, se quedo algo grabado en mi para siempre: los llantos de los niños, una banda sonora que me ha acompañado durante todos los días que allí estuve y que todavía hoy resuena en mis oídos. Las lágrimas brotaron de mis ojos y durante cuatro días lloré, hasta que una mujer Siria me pregunto porque lloraba y pensé que mis lágrimas no servían para nada. Todo lo que había pensado antes de llegar, se desmorono una vez estuve allí, hasta tal punto que me cuestione seguir haciendo fotos, esta incertidumbre fue lo que me salvo, saber que mis fotos realmente no serían nunca tan importantes como el hecho de poder ayudar a aquellas personas. Así qué decidí ayudar, porque lo realmente importante para mi son las personas. Durante los días siguientes, alterne el hacer fotos con la ayuda, y eso fue lo que me hizo sentirme dentro de este gran éxodo, de esta injusticia que s esta permitiendo desde lo llamado primer mundo. Llegue a sentir vergüenza de ser europea, pedí perdón por serlo. Allí me encontré con personas como nosotros, personas con las cuales me sentía totalmente identificada, arquitectos, ingenieros, periodistas, fotografos, maestros, personas que huyen de la masacre, como huiríamos cualquiera de nosotros. No puedo explicar con palabras el dolor y la impotencia que he sentido. Sólo esperó que estas fotos puedan comunicar lo que mis palabras son incapaces de decir.

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Allí he visto lo mejor y lo peor del ser humano, allí me he dado cuenta de que todo este éxodo, todo el sufrimiento de estas personas se permite simplemente por dinero, podríamos evitarlo, pero a parte de ser una lección de quien manda en el mundo, también es una manera de que ONG y estados ganen mucho dinero, este éxodo es una forma de capitalismo.

ere I have seen the best and worst of human beings, there I realized that this exodus, all the suﬀering of these Humans simply caused by avarice. We could avoid it, but beside being a lesson in who rules the world, it’s also a way for NGO’s (non-governmental’s) and States earning much money. is Exodus is a form of capitalism.

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During the night the cries are accentuated, and every scream was our scream – it’s a scream of the entire humanity, accusing governments that allow this crying. It’s a brutal and cruel political dishonesty.

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Durante la noche los llantos se acentĂşan, y cada llanto es nuestro llanto, es un llanto de todos, de la humanidad entera, y de gobiernos que permiten esos llantos. Es una deshonestidad polĂtica brutal y cruel.

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Hay mujeres embarazadas, bebés de meses, durmiendo a la intemperie, e encima del asfalto. Llegan exhaustos, cansados, después de haber pasado el Mediterráneo, jugandose la vida, después de caminar y enfrentarse a policía corrupta y mafias consentidas.

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ere are pregnant women, babies which are only a few months old, sleeping outdoors and on the hard and cold asphalt. ey arrive exhausted, tired, survived the passage through the Mediterranean Sea, risking their lives, aer walking and confront corrupt police and consensual mafias.

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No hay comida caliente, lo único que reciben es te, el resto comida fría, latas, plátanos para los niños, pero nada caliente.

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No warm food, the only thing they receive is the rest of a cold dish, tins of cold convenience-food, canisters with water, bananas for the children, but nothing warm to eat.

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Estos niĂąos, estas personas estarĂĄn marcadas de por vida. î&#x201A;ťese children, these humans will be marked and traumatised for their remaining life.

Las ayudas llegan de manera desorganizada, es incomprensible que Europa no sea capaz de diseñar y organizar ayuda para estas personas, es vergonzoso. e support comes in a disorganized way, it’s incomprehensible that Europe is not capable of designing and organizing help for these refugees, it’s embarrassing and a shame.

Estamos permitiendo algo vergonzoso. Después de vivir esta experiencia, sólo puedo decir que todos nuestros problemas son absurdos. We are allowing something such shameful and inhuman. Aer this experience I need to claim that all our daily problems in our daily lives seems to be absurd.

For further Contact and informations: http://maisaki.wix.com/photographym/

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by AnAluA Zoé

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by nigel MAudsley

by ZuZkA PrAhA

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by Angie stergio

by dAvide CAPPoni

by JuhA Forsberg

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by konrAd sobCZAk

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by MArtiAl rossignol

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by konrAd sobCZAk

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by MiChele CiriAli

by FrAnรงois Ferry

by Jenny PAPAlexAndris

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by riCk tArdiFF

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by lionel Cosson

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by JereMy ClAusse

Laurent Baheux

»the FAMily AlbuM oF Wild AFriCA« Aer first being involved in sport and current aﬀairs photography, Laurent Baheux later decided to devote himself solely to nature photography. In 2007, his success at the Wildlife Photographer of the Year competition in the Creative Visions of Nature category provided the starting point for an artistic career based on animals and wildlife. For almost fieen years, Laurent Baheux has travelled to the last remaining protected areas on Earth, providing us with a visual record of the remnants of our wild planet. He is the author of nine books : Photographers of Nature, 2008 (Actes Sud), Terre des lions, 2009 (Altus), Africa Portfolio, 2010 (YellowKorner), D’ivoire et d’ébène, 2011 (Altus), Wild and Precious, 2013 (La Martinière), Africa, 2012 and 2014 (YellowKorner), America Portfolio (YellowKorner), e Family Album of Wild Africa, 2015 (teNeues and YellowKorner). Laurent Baheux is also an activist for environmental organisations such as the WWF, the GoodPlanet Foundation and the Cheetah for Ever association. Since 2013, he is a UNEP Goodwill Ambassador for the anti-poaching initiative with images being featured in the Wild and Precious International Airport Exhibition. His photographs are exhibited in diﬀerent galleries in France and abroad. Laurent was born in 1970, in Poitiers, France. He works with NIKON reflex cameras and lenses.

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Who would you be and what would you do, if in your life there was not your photography?

beginning of an important collection. My biggest success is for sure, my meeting with a wonderful lion in 2007 in tanzania. it was an incredible experience with one of the most beautiful big cats i have ever seen. i don't remember about a defeat because it is always a great pleasure for me to be in the wild.

Probably something in music or sport: saxophonist or tennis player that are my two favorite hobbies.

Describe a real-life situation that inspired you?

î&#x201A;ťree adjectives describing Laurent Baheux? Passionate, persevering, dreamer

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any? î ˘e most important moment of my artistic experience is one of my african trip in kenya in 2006 because it is the

nature inspired me a lot. When i am in wild places, preserved of the human expansion, with free animals, i feel quiet and happy, connected and levelheaded.

Why do you do what you do? i would like that my pictures become a voice for the animals, wild or not. i am happy when people understand that animals are just as ‘human’ as us with a personality, a family. We have to leave more space, more life, for all other species in the world because we will not survive at their extinction. it is humanity’s absolute challenge.

What equipment do you use? here the list of my photo equipment: batteries, binoculars Monopod. nikon-10-22 x 50, international adapter

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lenses : nikon 800 5.6 vr, nikon 80-400 vr ii, nikon 70-200 2.8 vr ii, nikon 24-120, nikon 18-35 Cameras : nikon 1 v2, nikon d3, d4, d800 Macbook Air computer and external hard drive Western digital.

How do you work? i just work with me feeling and my emotion. at’s why i never prepare my trip and prefer let the nature surprises me.

Tell us about an usual day in your life. Your motivation and your approaches onto your photography. A typical day of shooting: forgeting all my certainties to keep the naiveté of freshness always be ready to capture the moment, especially when one has the impression that nothing is happening.

What’s your background? i started in photography while i was working for a regional daily newspaper in Poitiers. At that time, i was a sports news reporter and i would write the reports of the matches. e editor asked me to complete my

articles with pictures. i accepted and soon, i enjoyed taking pictures, more than writing. is is how i became – a self taught – photographer.

What role does the artist have in society? Maybe you have to ask to an artist ...

What’s your favorite art work? i love the figure of a dying lion in lucerne (switzerland) which was hewn from the face of rock.

What memorable responses have you had to your work?

Is the artistic life lonely? What do you do to counteract it?

Why do you photograph africa in b&w that is so colourful? Why so dark?

i take care of my kids.

What makes you angry? What wouldn’t you do without?

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My wife and my kids.

i try to do not be angry but i hate selfish actions, lie and, of course, hunting.

What food, drink, song inspires you?

What’s the best piece of advice you’ve been given?

veggie food and fruit juice.

i like the well-known maxim of boileau: »go back to your work again«.

Name something you love, and why.

What is your dream project?

e lion for that he is or represents that is to say the symbol of beauty and strength.

My dream projet is living in a wild area with no civilization, no stress, no madness of progress. Just with my family and my pets. but it is only a dream ...

Name something you don’t love, and why. i hate hunting and particulary hunting of protected species. hunting is now for a lot of people only for leasure and business : i am totally opposite to kill animal or to use it for fun.

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Finally, what are your next projects? i am currently involved with promoting my new coﬀee table book, e Family Album of Wild Africa, co-edited by teneues and yellowkorner. it is an important collection of more than 300 images about african wildlife, nearly half of which are exclusives, and taken since 2002. A Collector edition is scheduled for spring 2016 and my editors and i work hard on it.

e Family Album of Wild Africa, 2015 ISBN : 978-3-8327-3297-4 • teNeues & YellowKorner co-editions • September 2015 • 480 pages • Approximately 300 photographs, including 125 exclusives • Trilingual French / English / German • Hardbound with jacket, red cover with silver foil stamping • Nominated at the German Photo Book Awards 2016

Poetry District AnnA h. luCy kAZMierCZAk

PhotogrAPhy by shirren liM

»YOUR FOREVER« i managed to make sharp decisions and yet – i oen ignored all warning signs that i received both from the books and from the real world these were the lessons that life taught me we must do what’s right and not count the cost i looked aer my fantasies and put anything else on hold acted in the heat of the moment so tired of waiting and giving it all a second chance and a second thought i opened the doors for the lost ideas that before growing into something big needed to be hold first and tenderly caressed

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that was another lesson

i want to be better

of Professor life learning from mistakes is passé

is there anybody out there

nowadays you must learn

who could tell me

from success

how to become the guest star of your “now” and still get the chance

that i would be good

to play the major role

for you

in your “Forever”?

there's no doubt but “good” is not enough for me i still i want to be more than this

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

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

Yann Cielat: Paris â&#x20AC;&#x201C; I hate you?

Gareth Bragdon: OďŹ&#x20AC;-Beat

Mike Lee: All Your Ambition

New Release in January Yann Cielat: Walk on the wild side

Lo Bricard: Move a little closer

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libres

The Art and Culture Magazine

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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

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