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Ellen Jantzen ellenjantzen.com TRIBE MAGAZINE ISSUE 21 3 Rodrigo Illarraga
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TRIBE MAGAZINE | ISSUE 21 | OCTOBER 2013
COVER: Andrew Salgado
EDITORS NOTE Flat-Packed Creativity I’m all for disruption. Recently, tribe has gone ‘flat’ - that is, we have removed the formal hierarchies within the organisation and thrown things over to our young people. It’s scary, exhilarating and it might not work. But that’s no reason not to try it! We live in a highly risk adverse society, and it permeates all aspects of our lives. Hierarchies are stable structures, but they are inflexible and bureaucratic and often prevent the free flow of creativity, the fluidity of ideas and collaborations. And I think that ‘fluid’ is the key word here. Without this fluidity, very little creative can happen and formal management structures are barriers to collaboration, idea sharing, cooperation and imagination. From now on, you will see no job titles in the credits of the magazine. New people joining tribe will have no job titles, no direct responsibilities and no boss to report to. The only thing on our job description is this: ‘Make great things happen’ Mark Doyle founder of tribe
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Artists have given permission for their work to be displayed in tribe magazine. No part of this publication may be reproduced without the permission of the copyright holder(s) If you would like to contribute art or articles to tribe magazine, then please send us an outline of your article to our main contact email. If you would like to submit your artwork, then please send us up to 8 samples of your work to the submit email. We have a rolling submissions policy and accept work at all times and throughout the year. Further details can be found on the contact section of our main website, or by emailing us at: contact@tribemagazine.org To submit work directly: submit@tribemagazine.org (C) 2013 The Word Machine
tribe: international creative arts published by The Word Machine, Thorn Park Lodge, Plymouth, PL3 4TF
ISSN: 2050-‐2352
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[music] 12 Brian Wilshere [design] 18 Gopal Namjoshi [article] 26 MARKETING INUIT ART by Christine Platt [art] 34 Zoya Skoropadenko [photography] 48 Eran Gilat [art] 56 Andrew Salgado [photography] 68 Neil Holden [article] 82 THE SINGLE LIFE by Glyn Davies [writing] 96 Evelyn Knightley
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MENU
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CURRENTLY IN OUR TRIBE Marianne Jarvis Emily Pickthall Richard Thomas Simon Petherick (simon@wordmachine.org) Glyn Davies Christine Platt (artventuresto@gmail.com) Mark Doyle Helen Moore Hope Grimson Sarah Ahmad Rebecca Sharpe
Email: [FIRSTNAME]@tribemagazine.org *except where noted*
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Rachael Gallacher 10
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Caroline Green cgreenpaintings@gmail.com
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BRIAN WILSHERE The provocative music of English percussionist and composer Brian Wilshere has been widely performed in the UK and abroad by young British artists such as the Elysian Quartet and Owen Gunnell. Until now, no recordings have been made available. But Louba Rêve Records, a small collaborative label, is releasing two collections of Wilshere’s work in 2013. Tribe caught up with the Derby-born composer in Beijing.
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How would you describe your music?
that you had to be atonal in order to be modern, and
It’s concert music, by which I mean that it’s
some people still believe that. I don’t think I ever
intended for consumption primarily but not
believed that, and if I ever did then I stopped
exclusively in the concert hall. Or at least, I believe
believing it pretty damn quick, because that belief
that’s where it works best. It’s also post
just didn’t account for most of the music I was
minimalist; in other words it shares the minimalist
listening to at the time. All of which means that I
preference for working with a small amount of
don’t quite fit anywhere. I’m not an out and out
material in each piece, but my pieces usually have
minimalist, definitely not a modernist, but neither do
some kind of dramatic or narrative structure, and
I believe in crossover as the way forward. I suppose
really I think that it’s the tension between the often
that really what I do is to posit a future for concert
minimalist nature of the material and the almost
music in which the creative model returns to the kind
cinematic way that it’s treated that gives my stuff its
of aesthetic that powered folks like Dvořák or
flavour. In terms of the actual sound, there’s lots of
Gershwin. In other words, live in the age you’re in,
repetition but also quite a lot of melody, and above
be open to and draw from the music that's around
all a great deal of counterpoint. That is, interlocking
you, especially the pop culture, but then turn those
or interweaving lines of music. But the counterpoint
influences into something that will hopefully last a
often circles around for a while, like a funk groove,
bit and maybe on a good day have some kind of
rather than always having to go somewhere
timeless quality.
harmonically. If you want names, well I’m somewhere on an imaginary line with Steve Reich
Does the percussionist have a unique perspective
at one end and Vaughan Williams at the other, with
when it comes to creating music for the concert
lots of other influences—jazz, world music, prog
hall?
rock, funk—also chipping in. That variety comes
Yes, absolutely. Of all the sections, we’re the ones
from being a drummer, you can play so many
that can play for longest wthout physically tiring,
different styles and instruments.
and yet traditionally we’re utilised the least. I also think that for a percussionist, what I call the centre of
There’s a lot of compelling new work coming out the
music—the musical world you live in—will be very
modern concert music scene: dramatic, exciting,
different from any other section. For us, the centre of
texturally engaging—not a tonal harmony in sight.
music will include lots of musics that include a drum kit, many styles of world music, and also guys like
What is behind modern music’s addiction to
John Cage, Edgar Varese etc—very different to most
atonality and where does your music fit into the
other folks in the orchestra, I suspect. So, the
current scene?
question I asked myself, and to which every piece I
Personally I think there are a number of scenes and I
write is a partial answer, is this: what will Concert
don’t think that atonality is particularly modern any
Music written by a percussionist sound like? Steve
more. As for the addiction, well that’s a product of
Reich provided one kind of answer to that question,
the post war avant-garde and high modernism, in
and I’m providing another I think. And now there are
which people tried to be the musical eqivalent of Le
other people as well, although when I was coming up
Corbusier. When I was coming up, the feeling was
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it pretty much felt like there was just Steve Reich,
well known percussion concertos and there’s
Stomu Yamash’ta and me.
freedom in that.
Many of your pieces have been commissions from
As a performer, you've played in orchestral
soloists or ensembles. How does the creative
settings as well as in less formally structured
process differ in this case from pieces that have
musics such as rock, jazz, samba and gamelan.
been self-motivated?
Can the music of notation and the concert hall
Well, you get the brief and then see what happens. I
ever coexist peacefully with the music of the ear
sail pretty close to the wind sometimes, especially if
and the dance hall—and should it, even?
I already have an idea of what I want to do before the
Oh, good question! How long have you got? I’d say
actual commission comes. For example, years ago a
that the two musics you describe are basically doing
choir wanted a Christmas carol, and I don’t really do
different jobs. I think that the less formal musics are
Christmas apart from the overeating aspect, so I
great for what I call musical journalism—making us
wrote 5 songs about winter for them, which was
dance, helping us move at the gym, telling us about
about as close as I could get and still be me. To their
this week’s zeitgeist, even unconsciously, and
credit, they did perform them. ‘Zodiac’ (Wilshere’s
helping us to get through this week or this year. But
2001 percussion concerto, written for Owen
then there’s another kind of thing, stuff that’s
Gunnell) was supposed to be 12 minutes long and
aspiring to be the musical equivalent of say Charles
about a spaceship. But I just wasn’t getting anything,
Dickens—of its time maybe, but aspiring to have
so it became 18 minutes long and about star
enough in it that’s timeless to maybe still mean
signs. Again, the orchestra performed it. It’s had
something in the very long term—the musical novel,
loads of performances so, again, I got away with it
if you like. Personally, I think that a piece has to be
and they got very good value for money! A brief can
one thing or the other, even if some pieces are close
be very interesting creatively because you can
to the boundary. Again, I think that Gershwin is a
imagine the group performing the piece in your head
very interesting example. I’d argue that the longer
and I think sometimes that produces things you
time goes on, the more his concert pieces assume
wouldn’t have thought of otherwise. Also, I like to
greater importance in the canon and his commercial
meet the group or soloist and hear them if possible,
songs less. That’s not to belittle the songs, they were
find out what floats their boat, and also see if there
great in their time, and even doing that is a fantastic
are things in their current repertoire that might
achievement. Another example would be to put some
inspire something in me. In any genre, you’re always
Louis Armstrong from the 1920s alongside some
aware of what’s gone before, and again that’s why
Bartok from the same era. Only the Bartok will
the percussion field is so deliciously open—because
sound as though it could have been written
there are very few precedents. With ‘Zodiac’, I knew
yesterday, because it was built to last. But again
that it wasn't going to be compared with 94 other
that’s not in any way to diminish the enormous
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impact of Louis Armstrong in his own time, of
difference between liking what someone does and
course.
being influenced by them—it’s not always the same thing. So in terms of my own stuff I think that I most
Which composers would you cite as having had
resemble Reich, Vaughan Williams, Copland, Pat
the most influence on your own work?
Metheny, Bartok, Stravinsky, King Crimson and
When I was a kid I didn’t realise they were called
Stomu Yamash’ta.
composers, but way back it was the original Fleetwood Mac, Jethro Tull, Free, plus lots of reggae
Do you compose on the marimba, the vibraphone
and soul. Then later on it was prog rock, especially
or on the piano like everybody else?
King Crimson, and the post punk bands—punk itself
I do think that the instrument you play affects what
kind of passed me by a bit—so when I seriously
you write, so if a piece comes from material that’s
discovered classical music I kind of reversed into it
generated on a marimba or vibraphone or some
from Zappa and Beefheart into Varese and
untuned percussion instruments, as much of my stuff
Stockhausen. And then I discovered Steve Reich. If
is, it’s going to sound different from something that’s
we were doing Desert Island Discs my top 8 would
coming from the guitar, which I also play, or the
be Steve Reich, Vaughan Williams, Messiaen,
piano, which I play very badly. But these days I find
Bartok, Stravinsky, Debussy, Britten and probably
that increasingly I’m writing on the computer, and
Holst. But then I’d also have to cheat and have a
that the amount of time spent initially sketching
parallel top 8 containing King Crimson, David
using an instrument is getting shorter. That’s
Sylvian, the Blue Nile, Morrissey, Joni Mitchell,
especially true if I’m writing for instruments that I
Rush, Pat Metheny and Keane. But I think there’s a
don’t play—I like to hear a mock up of what
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something will sound like on, say, strings, as soon as
instruments or textures or material, sometimes by the
possible, and in that sense the technology has been a
time you get home the new piece, or the concept for
real help.
it, is just buzzing around your head. I also sometimes have ideas for pieces that don’t actually get finished,
What is the first stimulus when it comes to
maybe for years, or I complete one movement and
writing a new piece? Is it a feeling you want to get
then put it aside, a bit like a painter working on
across, or a musical process you want to explore,
several canvasses at once. And if, as happens
or something else entirely that gets the initial
sometimes, there’s nothing in the tank, then that’s
juices flowing?
when I catch up on finishing stuff I started
In my experience it takes many forms. On a good
previously, or rearrange something, or just take a
day, a piece is right there in your head, especially if
break and check out some new things.
you’re working to a picture or a poem. Other times
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you have a little idea and then use craftsmanship to
Your music is well known in performance, much
turn it into a finished piece. But often it’s nothing
less so in recording. Has this been deliberate and
more than just a notion of what the piece should feel
what’s behind the two new releases?
like or sound like, and in those cases the writing
Opportunity! It just so happened that for a long time
itself is very hard work. And yes, sometimes it’s just
I got far more interest from performers and
pure music—wondering ‘what would happen if I did
conductors than from recording people. The Louba
this?’. I also find that being at a concert and hearing
Reve releases for me represent a big step forward
another piece sets things off. If someone’s written
because I think that they stand up in the market place
something and you think you know what you would
with everything else, they’re live recordings, and
have done differently with the same kind of
they have bar codes! So it's great to finally have
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something out there and hopefully introduce my stuff
stuff from the Louba Reve Piano and Percussion CD
to more people who might like it.
together with the new songs. If we did it, I think we’d definitely do it in an up-to-date way—stream it
What can we look forward to from you in the
live and also do a recording and DVD for
future?
example. These days you can reach a lot of people
Lots more releases I hope! The next one is going to
without going round the world in person, and much
be an album of songs for voice and percussion
as I love to travel I do find that an attractive idea!
quartet, which we’ll be recording in the winter and hopefully releasing next year. I’ve also just finished
brianwilshere.com
a new piece for a capella choir, and I’m hoping to do
loubareve.com
a choral album with that piece plus several previously written ones. Since I already have quite a big back catalogue, I think I’ll be writing fewer new pieces in the next few years, and I’ll be doing more stuff that’s based on ideas I’ve had around for years that I want to get finished. A big song cycle for soloists, choir and orchestra is one example, but if other opportunities come up it could all change. It’d also be nice to do some concerts if I can find the right combination of people and pieces to work with. Some combination of percussionists, singers and pianists would allow us to do the
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MAU MAU mau-‐mau.co.uk
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“I think my installations will turn into public interactive events, while ‘Glowrious’ further spreads its glory and light.” Gopal Namjoshi Gopal Namjoshi is an independent artist working in the area of arts, crafts and design. Practicing from past 25 years Gopal has craved his niche with his innovative work. After spending his formative years as a designer, lecturer, consultant and an advertising professional in Jaipur for two decades, has moved his base to Delhi and has swiftly been picking up to the likes of the city. artgopalnamjoshi.com artworkzz.com
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MARKETING INUIT ART CHRISTINE PLATT The Inuit art market differs greatly from the traditional primary art market in a number of ways, including the players involved and how it functions. This results in different artist benefits, distribution of risk and quality standards. Currently the market faces challenges to its resilience with some changes taking place as a result and much to question. On the primary market, most contemporary Inuit artists sell their work through a unique system dedicated wholly to art made by Inuit. Inuit owned and operated cooperatives, along with various other
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governmental institutions and private art marketing companies act as distributors to the galleries across the globe. They select and price artworks made by Inuit in their local communities, paying the artists directly and immediately, similar to buying products in most other (non-art) commodities markets. This provides a sense of general financial security to the artists, and ensures a flow of capital to reinvest in materials and tools for further art production. Arguably this system would appeal to many non-Inuit artists in the world for its security and psychological value.
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The distributors transport the works they have bought from Inuit artists to warehouses in the south of Canada, where gallery representatives arrive to select works to sell in their own spaces. Gallery representatives must pay for smaller works in full, while they usually take larger works on consignment. The relative risk, therefore, is highest for the distributors in this market who have already paid the artists, paid for transport to facilities closer to galleries and paid for storage of art until it has sold (sometimes years later). Distributors in this market act more like gallery representatives in other art markets; they coach artists on quality, refusing to take the poorest works, and in some cases truly helping artists to find their own original vision. Additionally distributors help artists to develop their technical skills through workshops and travel opportunities to meet gallery representatives, collectors and other artists. Nevertheless, mediocre and midlevel works can still be found on the market, due to a number of factors including: the dearth of works made available; sympathy markets; and a lack of competition. Although the market has considerably cooled in the last decade, especially with a number of galleries closing in the past five years, distributors continue to select large quantities of works not far enough from the numbers they selected during the market’s height in the 1980’s and 1990’s, which is evident from the large number of works found in the major distribution centres. Problematically, the distributors face entire
communities whose livelihood depends largely on art sales, which has created pocket sympathy markets in which those lower quality works are still taken on, but prove more difficult to sell to collectors. Furthermore, distributors often have little competition as only one or two operate in a given region, due to both the remoteness of where artists work and the territorial development of the overall system. Without competition there is little incentive to improve the system and ensure the highest possible quality. Some of the artists affected by this system both positively and adversely include Floyd Kuptana and Bart Hanna, who both have a number of works in their own truly original styles and beautifully executed, but whose lesser quality works can equally be found in distribution centres and on gallery floors. This causes the artists to have a skewed understanding of their collectors tastes and de-motivates them from producing their best work. It also creates challenges for pricing and wider market stability. > Art made by Inuit has frequently been sold as part of the brand: Inuit Art. Galleries around the globe selling the artform often dedicate themselves solely to it. Those galleries with additional art made by nonInuit artists often separate Inuit produced works instead of having them arranged together by other categories, such as materials, styles and themes. Museums also often have special sections of Inuit art separated from wider contemporary art collections, although recent museum practice has evolved in some institutions to
Joot jootdraws.com
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allow for flexibility in display and information. Governments and their businesses and communities have championed the artform as a national treasure in Canada, which even extended to the Vancouver Olympics’ icon of an Inuksuk; Inuksuit have many functional uses in Inuit culture which differ from the often seen stone sculptures sold in most Inuit art galleries, such as giving direction and marking food stores. Collectors of the artform include collectors of art in general, but also collectors of anthropological and historical objects, tourists as well as those attracted to the brand in general. Having the brand Inuit Art has brought positive attention to Inuit communities and a desire to understand their culture. It has also helped to make large and diverse audiences aware of art made by Inuit and spurred high sales volumes. However, it has arguably presented an essentialist view of work made by Inuit, and it presents a challenge to sustainability in their separate market system as tastes and economies change. Recently some individual Inuit artists have departed to non-Inuit galleries, gaining more independent recognition from the wider contemporary art field. Young artists such as Mark Iglorliote and Alethea Arnaquq-Baril have diverse followings within the Inuit community, collectors of Inuit art and collectors of art generally. These young, individual artists, just as those within the Inuit art market, continue to give insight into Inuit culture and contemporary thought. While most displays of Inuit art shown by Inuit art galleries and museums focus on
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traditional stone sculptures, prints and occasionally drawings, works by these young artists present the diversity of production modes now in use by Inuit artists, including video, photography and installation. At a time when many collectors from the separate Inuit art market are ageing out, these young artists present a fresh style of art made by Inuit which appeals to young, new audiences, challenging the status quo of the Inuit art market and bringing to the fore questions on how the market currently functions and alternative methods of promoting and protecting art made by Inuit. The Inuit art market is a unique system with benefits for the artists and communities involved. Unlike any other art market in the world, it values art production above all else and it promotes and distributes the art produced across a vast network. However, it is also a system facing challenges and on the brink of change that will test its resilience, as artists, galleries and distributors decide how best to ensure quality and meet the demands of their collectors. <
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Words and pictures: Christine Platt artventurestoronto.com
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Buns When she was young, Susan used to feed the hippos at London Zoo with current buns. She’d toss them up in a neat arc to land on their huge tongues, between the two stump teeth. Later, the zoo put up signs ‘Do not feed the hippopotami. Their natural diet is grasses and weed.’ Susan said, “The buns never seemed to do them any harm.” The hippos said, “What are buns made from?” Simon Williams
Simon Williams makes a living as a technology writer, but has written poetry for longer. He has five published collections, the latest being A Place Where Odd Animals Stand (Oversteps Books, 2012) and He| She (Itinerant Press, 2013). He is currently the Bard of Exeter and has a robe and a chair. He’s just started editing The Broadsheet. Find him at simonwilliamspoet.moonfruit.com and The Broadsheet at broadsheet.moonfruit.com.
Pic: Magenta Fox
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So Muddy A construction site so muddy big dump trucks sink out of sight. Crossing on foot while hardhats curse in a dozen shades of pink, I leave footprints like dinosaur tracks steaming in the midday heat.
William Doreski lives in Peterborough, New Hampshire, and teaches at Keene State College. His most recent book of poetry is The Suburbs of Atlantis (2013). He has published three critical studies, including Robert Lowell’s Shifting Colors. His essays, poetry, fiction, and reviews have appeared in many journals, including Massachusetts Review, Atlanta Review, Notre Dame Review, The Alembic, New England Quarterly, Worcester Review, Harvard Review, Modern Philology, Antioch Review, and Natural Bridge
Trying to escape to the east, toward the deep plotting of the sea, I feel as though I’m entering the interior of a machine grinding away at the planet. Yellow power shovels unearth the sunken big-wheeled dump trucks and with chains like strings of biceps hoist them onto terra firma. I dodge among the grunting diesels and slip through a hole in the fence. As I look back, a crane at least two hundred feet tall topples in a smash of X-shaped runes. I don’t think anyone was hurt, but the perceived level of cursing rises to crimson and navy blue. An entire edge city expects to rise from this sultry mire. Condominiums, shopping malls, office blocks. Greasy syllables already grace the realty ads. What if the whole new complex sinks like Atlantis and leaves the property owners shipwrecked? The narrative of construction
Pic: Rose Packer
will fade into that of routine, and my footprints, ignored by the landscaper’s bulldozer, will petrify into a god’s. William Doreski
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Bastard Nation It wasn’t her decision to entrust you to strangers and the moon tides. She was only 14 when she had you. The multitudes of fish attracted seals, and the seals attracted sharks. A pack of sharks is called a “shiver”. Now that you’re a grown-up, I can tell you what else I know – that just because someone receives punishment doesn’t mean there’s been a crime. Howie Good Howie Good, a journalism professor at SUNY New Paltz, is the author of the forthcoming poetry collection The Middle of Nowhere (Olivia Eden Publishing) and the forthcoming poetry chapbooks The Complete Absence of Twilight (Mad Hat Press), Echo's Bones and Danger Falling Debris (Red Bird Chapbooks), and An Armed Man Lurks in Ambush (unbound CONTENT). He co-edits White Knuckle Press with Dale Wisely. Pic: Juan Patino Herraiz
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The Dance Music Stops With fluttering wingbeats, they rise vertically & then, with wings spread out, let themselves fall again. Are you one of the dreamers now? Summer is almost over. One tape is playing slightly faster than the other. Even examples containing a mixed bacterial population can be examined in this way. Her hair, a ruckus of springy black curls, was carolled above her head with a yellow ribbon. “Blondie are back & embarking on a tour of the country”, said Jenny. One of the things we may need to look at is that there
Pic: Polly Morwood
are now more female GP’s. How much is your organisation lobbying for support? “It’s a seventeen venue tour”, she said. With no natural enemies, the wolves were unafraid of humans. Yet their earthiness was urban, not rural, frivolity with a military edge. “I bent to my oars”, he said. As crocodile numbers increase so does the risk to residents & visitors. Rising food prices are driving families into poverty yet this red-billed corvid continues to breed around the headland.
Steve Spence has published two collections of
“I like to dress up, so it didn’t really bother me”, said Debbie.
poetry. A Curious Shipwreck (Shearsman, 2010)
You can tell by the sound that they’re all disappearing, yet
was shortlisted for the Forward Prize best first
consumerism is still the biggest issue in terms of biodiversity.
collection. His second collection, Limits of Control (Penned
Can poetry function successfully as a medium for social polemic, & if it can, what does it achieve? A rhetorical question? “Do you consider yourself to be an artist or a commodity?”
in the Margins, 2011) was featured on radio 3’s The Verb in 2011. He reviews poetry for Tears in the Fence and Stride (online) and his poetry has also appeared in a number of anthologies, including In the Presence of Sharks (Phlebas,
In his Westminster office, the mad monk of monetarism took
Plymouth) and Smartarse (Knives, Forks and
this as a thrown-down gauntlet. Our eyes became accustomed
Spoons Press). He gained an M.A. in Creative
to the dark & there is a rustling in the undergrowth.
writing at the University of Plymouth in 2007.
Steve Spence
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Interview by Mark Doyle
ZOYA SKOROPADENKO Zoya is a Ukranian artist based in Monaco, who works in a wide variety of artistic mediums. tribe recently caught up with her to talk about her work.
Where does the creative process start for you?
Где начинается Ваш творческий процес?
It starts from sketching. It is not always the case but
Сначала я делаю зарисовки. Это, правда, не
most of the times it comes from there. Sketching comes as first nature to me. If I see something that catches my eye I sketch it.
правило, но, скажем, в большинстве случаев. Рисунок -‐ это то, что является началом начал для
It could be when I am having breakfast or when I am
меня. Если я вижу что-‐то интересное, я
having cup of coffee in a café. A Japanese friend
обязательно это зарисую в свой блокнот.
gave me a wonderful traditional calligraphy ink brush
Например, я зарисовываю сценки во время моего
that is now always in my bag and it is a brilliant tool for getting my feelings on paper. Drawing for me is the same as eating, I just need to do it. After a week or
завтрака, или когда я присаживаюсь в кафе выпить кофе. Как-‐то раз моя японская подруга подарила
two I look through my sketch books and use my
мне превосходную традиционную кисть для
sketches as a basis of something new like a painting,
каллиграфии. Сегодня я с ней не растаюсь. Она
or linocut.
всегда у меня в сумке. Это волшебный инструмент для того чтобы изобразить мои чувства на бумаге.
How did the idea for the 'Torso' series come about? Can you describe how you made these images?
Рисование для меня то же, что и еда -‐ мне это нравится и я в этом нуждаюсь ежедневно.
It was on a miserable Riviera day a few years ago. I was stony broke waiting to get paid for a few jobs I’d
Недели через две, я обычно возвращаюсь к своим
done. I didn’t even have the money to buy paints, I
наброскам в блокноте и использую их как базу для
could just about eat till the money came through. Then I’ve had an idea. What should artist do in such a case? I decided you have to use what is available
чего-‐то нового, например, для будущей картины, или гравюры.
come what may. Well I had a camera. I must had
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looked very hungry because I also had a box of
Как Вам пришла идея серии “ТОРСы”? Могли бы
octopus in my fridge that a local fishermen, seeing me
Вы описать процес работы над ними?
looking down on my luck, had given me for free. I
История появления серии “ТОРСы”
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prefer roses but octopus will do! I put the smelly box of potential dinner seafood in front of me and thought out them. Octopus are not particularly inspiring, not at
Пару лет назад, в один из редких угрюмых дней, которые все-‐таки бывают на Лазурном Берегу
first anyway. Then I realised that in front of me was a
Франции, я сидела на “мели” и ждала обещанных
pile of “flesh” from which I could “build” anything I
гонораров, за несколько работ, которые я уже
wanted. When I get a strong idea I usually reach for
сделала. Естественно на краски, полотна и
my “imaginarium.” My “Imaginarium” is a collection
разбавители денег не было, их,еле хватало на еду
of loose leaf folders filled with images that impressed, aroused or inspired me. I decided to mould something classic and beautiful. There is nothing
чтобы продержаться до обещанных гонораров. И тут меня осенила мысль. Чтобы бы сделал
more beautiful than human’s body, so that became the
художник в моем положении? Естественно
subject. A human torso is different from an octopus’
использовать то, что лежало, в данный момент,
body, but I decided to imagine that this flesh was clay
под ногами, вернее сказать, было под руками.
from which I would model a sculpture. Prometheus, Pygmalion or Polyclitos? That wasn’t in my mind at the time. I took my most favorite classical torsos
Во-‐первых, у меня была фото-‐камера. Во-‐втрорых,
used them as inspiration. Then I took are series of
у меня в холодильнике лежала коробка
photographs. The next morning I chose the best,
осьминогов, которую мне дали местные рыбаки
developed them and apologised to my neighbors for
на рынке, возможно, глядя в мои изголодавшиеся
the strange smell coming from my apartment.
глаза.
I refroze the octopus. And since then each time I get inspired by a Torso I still get my Octopus out of the freezer, though they are another generation (the first
Конечно, я бы предпочла розы которые намного поэтичнее, но и с осьминогами можно
group having become impossibly putrid) as well as I
поработать. Я поставила перед собой коробку с
developed the technique and now it is a large scale
отменными средиземноморскими осьминогами
mixed media pieces going over 200cm.
утреннего улова и задумалась.
You have worked with linocuts for your Coffee Drinkers series - what was it like working with
Осьминоги, как мне казалось в тот момент, сами по себе не посылали волны вдозновения. И вдруг
lino? What do you like about working with that
я поняла, что передо мной лежит “глина” из
material?
которой я могу вылепить все, что угодно
I love Lino. It is such a great material to work with. I
Когда меня осеняет подобная креативная идея, я
do it all until my hands are sore. Lino is considered
заглядываю в свой, так называемый,
“passé.” It is so “out” that as far as I’m concerned its “in.” It’s so old fashioned it contemporary, so gauche its agile. My interest was piqued during a visit to the
“имаджинариум”. Имаджинариум -‐ это моя коллекция папок с вырезками, зарисовками, фото
exhibition “Entdeckte Moderne” (About German art
которые я постоянноо делаю когда вижу
of early XX century) in Salzburg.
интересную работу или идею, материал или все то, что поражает воображение, удивляет и захватывает меня.
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There were amazing Lino pieces by Victor Tuxhorn, Wilhelm Rudolph, Edmund Kesting and they made me want to do my own. Later I rediscover work of a famous Polish-Austrian-Ukrainian linocut master
Перелистав пару папок, я решила вылепить из моей “глины” что-‐то классическое и прекрасное из этого сырого материала.
from my native Lviv, Leopold Lewicki. So when I
Выбор пакл на торс. Нет ничего прекраснее
decided to create the series “Coffee Drinkers” I knew
нежели человеческое тело, торс. Таким образом
that I would do it in linocut.
эта тема меня увлекла Тело человека отличается от тела осьминога. Но, я
What does art mean to you? What should good art communicate? What does art express to me? It’s the expression of
представила себе, что передо мной не морепродукт, а глина, из которой я сейчас начну
another mind, or time or perspective. It’s
создавать новую жизнь. Прометей? Пигмалион?
communication. Words are feeble in comparison to
Или Поликлитос? Я выбрала самые любимые
images. The eyes are the floodgates of the soul and art
классические торсы из Лувра в качестве
floods the mind through them. Your work is very impressionistic, despite it
вдохновения. Затем я сделала серию фотографий На следующее утро я отобрала самые лучшие
cutting across many mediums. Is impressionism
негативы, проявила их и извинилась перед
something that you identify with? Which art
соседями, которые начали жаловаться по поводу
movements have influenced you?
неприятного странного запаха из моей квартиры.
I don’t think myself as a classic impressionist. “torso”
Я заморозила осьминога
uses their technic of the indistinct to create perceived detail, and I do work fast and freely, but I don’t think Renoir would think of me as an impressionist! But it
С тех пор, каждый раз когда меня вдохновляет очередной торс, я достаю моих осьминогов из
would be impossible for me not to be influenced by
морозильника (хотя конечно же это непервое
the impressionist, their work is overwhelming.
поколение осьминогов, а очередные, так как портятся они очень быстро). Также я разработала
I was recently painting in the Muse d’Orsay in Paris working as a copyist and you kind of bath in a hothouse of impressionism there. It was the whiff of their Absinthe that made me come up with “Coffee
технику в которой я создаю ТОРСы, и сегодня это не фото, а большие роботы в смешанной технике которые достигают 200см.
Drinkers.” However art doesn’t begin and end with Manet and Seurat. I’ve been inspired by art from
Вы работали в технике линогравюры над Вашей
Neolithic bone carving right up to the latest crazy
серией “Любители Кофе”. Как Вам работалось в
work at Fiac.
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For the 'Milk' series, you made an everyday drink a focus point for the work. Can you describe your ideas behind this work? Milk comes from the idea of another palate.
Я обожаю линогравюру! Это великолепный материал для работы. Я режу гравюры практически до мозолей на руках.
Milk is a series of oil paintings on canvas
Сегодня техника линогравюры считается, так
depicting milk and my favorite landscapes: A
сказать, “passé”, техникой прошлого
Parisian café, a skating-rink, a window from
Она настолько немодна, что я считаю, это как раз
childhood, Californian palms, my grandmother’s table, the Dubai desert, a Japanese Park. I created MILK about two years ago. When I
то самое современное что только может быть сегодня в искусстве. Я глубже заинтересовалась
came back home after visiting the Frieze and
линогравюрой, посетив выставку “Entdeckte
FIAC art markets. The tendency on today's Art is
Moderne” (немецкое искусство начала ХХ века) в
terrifically MALE. That art is dark, ugly, scary,
Зальцбурге.
burnt and carbonized, scatological and
В экспозиции были представлены работы Виктора
pessimistic. It is all about poop and blood and death! So I had a long think about that. Men and gore and poop. Its predictable, repetitive, ugly
Тухорна, Вильяма Рудольфа, Эдмунда Кестинга, которые подтолкнули меня к идее самой заняться
and boring. It clearly has an audience, but
линогравюрой
painting for people who want to hang gore and
Позже я стала обращать внимание на работы
poop on their wall doesn’t inspire me.
других мэтров-‐графиков. Я заново открыла для
Time for something different that art for the “anally retentive.” How about something for the “aural personality.”? How about Milk? Instead of
себя работы польско-‐австро-‐украинского художника Леопольда Левицкого.
poop, milk, instead of blood pink skin, instead of
Поэтому когда я решила создать серию “Любители
torn forms round friendly shapes. For all their
кофе”, я знала, что это будет линогравюра.
dark shades the old masters in the Louvre loved their jars of milk, the Virgin Mary’s breast. I love painting still-lives, It was my "thing" in Art Academy. With milk I don’t want to be “in your face,” I want to draw you in, so what appears to
Что для Вас означает искусство? Каков посыл хорошего искусства? Что такое для меня искусство? Это выражение
be a monochrome oil paintings on small canvases
иного состояния мысли, времени, ерспективы.
are actually full of details carved in relief in the
Что же касается посыла, то один раз увидеть
paint. When you look these secret pictures shine
лучше, чем тысячу раз услышать. Глаза -‐ зеркало
into life. Each painting feature one of three colours: either blue or pink or yellow. Blue - for cold MILK, Pink - for soft skin,
души, а искусство, прекрасное или ужасное, проникает в душу, именно через глаза.
YELLOW - boiled hot MILK or cream or cheese.
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Every painting depicting a glass or bottle or
Ваши работы очень импрессионистичны,
other glass vessel with Milk in it.
несмотря на то, что они исполнены в разных
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Later I incorporate landscapes and people into the
техниках и раными медиумами. Отождествляете
background and I use my sketches a source material
ли Вы себя с импрессионизмом? Какое
for the hidden pictures..
движение в искусстве наиболее повлияло на
You live in Monaco - is there a strong artistic
Ваши работы?
community there? What is the arts scene like in
Я не считаю себя импрессионистов в классическом
Monaco?
смысле. ТОРСы созданы с непрямым посыланием
Monaco is a great place for an artist. It has great light.
на их технику: в этой серии я исключаю детали и
The same light loved by Matisse, Leger, Cocteau and
работаю над общим впечатлением. Как и
Picasso. It is also busy with lots of exhibitions from around the world and numerous artistic events like the annual Monaco-Japan Artists Meeting. There are
импрессионисты я работаю быстро и свободно, но, думаю, что Огюст Ренуар вряд ли назвал бы
regular Art Salons and Fairs. Monaco also maintains
меня коллегой-‐импрессионистом. Но,
its place in the world art scene putting on brilliant
естественно, невозможно не вдохновляться, глядя
summer exhibitions with famous museums like
на работы импрессионистов -‐ они бесподобны!
MOMA, The Louvre and The British Museum. On top of that Monaco give a lot of moral support to resident artists, so you feel appreciated. However you
Недавно я работала в Музее Орсе в Париже копиистом. Работать, в этой мекке любителей
still have to sell your work and of course Monaco is
импрессионистов, и это как глоток воды в
an art loving and rich country, so that’s a great help
пустыне, Именно после работы там у меня
too.
появилась идея серии “Любители кофе”. Однако, искусство не начинается и не
What are you currently working on? I am continuing to work on the TORSO, MILK and COFFEE DRINKERS series. Im also thinking about a new idea called ‘Green’. Green is the ultimate color
заканчивается на Мане и Сера. Меня вдохновляет и неолитическая резная кость, и некоторые работы на последнем арт-‐рынке FIAC
of nature. Green is spring. Green is rising hope. I’m collecting green pigments and oil colors from all
Работая над серией “Молоко” , главным
over the world and working on ideas for a range of
“героем” стал ежедневный простой напиток
images, perhaps portraits, maybe landscapes, even abstracts, using a restricted palate of green. As for the horizons, internally I am continuing to
Идея серии работ маслом “Молоко” возникла из
produce new works in my series as well as planning
идеи использовать другую, иную палитру красок
to do more copyist work at the Musee d’Orsay and
МОЛОКО -‐ это серия работ маслом на полотне, в
Louvre in Paris.
которой я пишу молоко и мои любимые пейзажи:
Externally I have a number of exhibitions coming up including my linocuts which look set to go on tour
парижские кафе, окно моего детства, пальмы Калифорнии, стол моей бабушки, пустыня Дубаи,
around France. I’ll also be working on sculpture with
японский парк. Я начала работать над МОЛОКОм
Japanese ikebana artist Kasho Maeno in Japan on an
года два назад, когда я вернулась домой с
art project to help revive the Fukushima area and help
очередного рынка современного искусства то ли
orphan children there. <
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Сегодня тенденция в искусстве ужасающе
Характерная черта каждой работы -‐ три основных
МУЖСКАЯ Это темное, безобразное, жуткое,
цвета: голубой, розовый, желтый.
сожженное, обугленное, копрологическое и
Голубой цвет -‐ это холодное МОЛОКО. Розовый -‐
пессимистическое искусство
парное МОЛОКО. Желтый -‐ кипяченое МОЛОКО
Это искусство об экскрементах, о крови и о
или сливки, или сыр. В каждой работе
смерти. Я долго раздумывала над этим
изображен стакан или бутылка, или графин с
Мужчины и кровь, и экскременты.
Молоком. Позже я добавляю в работу в качестве
Все это так предсказуемо, безобразно, скучно и
фона пейзажи, людей, используя свои
постоянно повторяется. Несомненно, такое
ежедневные рисунки, как материал для скрытых
искусство, как мы видим, имеет свою аудиторию,
изображений.
но лично меня совершенно не вдохновляет картина, которую вешают на свои стены люди,
Вы живете в Монако. Есть ли там сообщество
которые любят кровь и экскременты.
художников? Что Вы можете сказать об арт
Настало время для чего-‐то другого, искусства для
сцене Монако?
“крепко анального”, нежели для поноса
Монако -‐ прекрасное место для художника. Здесь
Поразмыслив о противоположностях, я начала
великолепный свет. Тот самый
искать что-‐то что было бы противоположно
средиземноморский свет, который так ценили
анальному отверстию. И так появилась идея
Матисс, Леже, Кокто и Пикассо.
Молока. Вместо какашек, это будет молоко.
Здесь также проходит множество выставок со
Вместо крови -‐ розовое живое тело. Вместо
всего мира, художественные мероприятия,
оборванных острых форм -‐ дружеские округлости.
например, ежегодная выставка Монако-‐Япония,
Несмотря на всю темноту и затемненность работ
ежегодные Арт Салоны и рынки.
старые мастера с их работами выставленными в Лувре обожали писать горшки с молоком, святую
Монако также отстаивает свое место на мировой
Марию с оголенной грудью, кормящую младенца.
арт сцене проводя ежегодные летние выставки в
Я обожаю писать натюрморты. Это был мой конек
сотрудничестве со всемирноизвестными
в Академии искусства. Своей серией “МОЛОКО” я
музеями, такими как МОМА, Лувр, Британский
не хочу “тыкать вам в лицо”. Я хочу заманить вас
музей.
туда, чтоб вы заглянули и нашли то, что я хочу
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показать. Потому что, несмотря на то, что работы
Ко всему вышесказанному, Монако морально и
совершенно монохромны и плоские, в них
даже иногда материально поддерживает своих
множество деталей, которые можно найти лишь
художников-‐резидентов, и это дает уверенность и
при освещении и ракурсе.
чувство, того, что твою работу ценят.
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Однако, несмотря на все это, ты все равно
пейзажи, даже абстрактные работы. И все
должен работать и продавать свою работу, и
вариациями зеленого цвета.
поскольку Монако страна с большим количеством богатых ценителей прекрасного -‐ это
Насчет “внутренних” горизонтов, то я планирую
неплохое подспорье для художника.
продолжать работать над новыми работами во всех сериях, а также продолжаю мое
Над чем Вы работаете сейчас? Какие следующие
сотрудничество в качестве копииста с Музеем
горизонты в Вашей работе?
Орсе и Лувром в Париже
Я продолжаю работать над сериями TORSO,
На “внешнем” горизонте у меня намечены пара
МОЛОКО и Любители кофе. Также я начала
выставок линогравюр, которые сейчас ждут
работу над новой серией под названием
своего “тура” по Франции: Париж, Бордо, Руан. Я
“GREEN” (“ЗЕЛЕНЫЙ”). Зеленый цвет -‐ основной
также работаю над скульптурой для проекта,
цвет природы. Зеленый -‐ это весна. Зеленый -‐
который мы делаем вместе с известным
цвет надежды
художником икебаны Кашо Маено в Японии. Это арт проект по возрождению зоны Фукусимы и
Сейчас, путешествуя, я собираю зеленые
помощь детям-‐сиротам из этой зоны. <
пигменты и маслянные краски по всему миру и пишу картины в зеленом цвете. Это портреты,
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LIFE SCIENCE | Photography I am a Neuroscientist and an avid Art Photographer. My research focuses on the study of the mechanisms underlying epilepsy, and the development of innovative cure for this illness. In recent years I found myself directing vast attention and energy to still life photography of biological specimens, highly inspired by my long lasting confrontation with biological tissues and natural fauna. It takes a while for a young clinician or a researcher to accommodate the laboratory or hospital scenes to enable good performance. This is done by extensive training; some cannot adjust to the visuals. I feel my photographic activity carries me to these regions too. My photographic activity deals with the aesthetics of the scene, improvising various contexts, the tools and paraphernalia shown are not just the typical ones used in the operating place. My "Life Scienceâ&#x20AC;? project is forcing the biological tissue into a relatively pleasant, sometimes artificial scenarios contemplating issues of materialism, erotica and mortality, corresponding with the complicated and intriguing category of â&#x20AC;&#x153;Animal reminderâ&#x20AC;? in the visual arts. I feel my work engages also various toning of violence. We tend to describe violent humankind behavior as an animal like beastly revolting one, associated with animal violent behavior. But the animal world is dictated purely by survival rules due to inexorable, harsh selection process. No one will consider the abandoning of the essentials measures for the preservation of the species as cruel ones; this was previously emphasized by Charles Darwin and recent eminent scholars. I believe in many aspects we are inferior to the animal world moral conduct, while being superior in our intellectual competence. Eran Gilat erangilat.com
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Interview by Francesca Didymus
ANDREW SALGADO What is the rough process of your work from the early
their craft. A truly brilliant person will reassure you with full
stages of its conception to the final realisation of a piece?
humility that they still have a lot to learn.
I get asked this question a lot but it remains one question that I find perhaps hardest to answer. My process is about
You once stated that your work deals with ‘concepts
tinkering around in the studio, experimentation, and
concerning masculinity, sexuality and identity’. To what
accidents. I have no process, each painting is different from
extent are these concepts a reflection of you as an
inception to conclusion and as a result I actually have a lot of
individual? Or rather what inspires them?
detritus, but I find that I learn from my so-called ‘failed’
These are my overriding concerns because they speak to who
paintings. It is important for me to be critical and to self-edit,
I am as a person. My work has always been keenly
and my process is always one about surprising my viewer as
autobiographical but since 2012 I have viewed it as
well as myself. For my first solo show in New York City in
something of a ripple-effect, in which I continuously take a
2010, my work was described by one critic as
‘step outward’ to look at my story and the stories of others as
schizophrenic…which I have since adopted as a strength to
an external, omniscient narrator. Sure, it’s still tangentially
my practice.
linked to me and my own history, but its less solipsistic…it’s less bull-headedly conceptual, more about broader and more
Your work for the Harvey Nichols' windows in London's
accessible ideas.
Knightsbridge all sold out within just an hour of the preview. However, despite the popularity of your work
How did your style of painting evolve to what it is today?
have you ever doubted yourself as a painter?
Style should never be a concrete idea. It should evolve as a
Of course. I always have and still do. Referring again to that
person does. I think that I look back at how I was working
exhibition in NYC in 2010, the entire show was actually
two years ago, and I feel like a different painter now. I hope
called Anxious as a quite self-reflexive reference to my own
that in another two, five, or ten years I am able to see more
state-of-mind in the studio. I have since learned to channel
developments in my technique, concept, and practice once
and control such self-doubt, which I think can be a powerful
again. I think there is nothing less interesting than an artist
motivator for an artist to push himself into new exciting
who has defined his practice so astutely that a viewer is
territory. I think ‘comfort-zones’ are dangerous things for
unable to see any progression. I think painting has the ability
artists – too much self-confidence in the studio can be a
to shock and surprise, and it should aim to do so at every
cripplingly negative thing, as can too much self-doubt. I have
turn.
often said that “an artist’s worst enemy is a false sense of security in the studio” which I believe with zeal. Doubting
Speaking most directly, I’m working a lot more slowly these
oneself is what pushes you to stay on your toes, stay razor-
days. There’s more consideration into the mark making and
sharp, and believing that there is always something that you
I’ve been playing with what I consider additive/subtractive
can do better makes you strive to push yourself. I have little
space, which is similar to negative space although it has been
time in life for anyone who believes he or she is a ‘master’ at
painted to look vacant. After a long time, I finally feel like
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I’m close to defining my true voice as a painter. It’s all about evolution and change, isn’t it? Your expressive technique certainly complements the impressive scale of your paintings. Was this intentional? What attracts you to painting on a large canvas? I love the monumental nature of scale. I love viewing paint that is larger than life, and playing with figures that become unnaturally large within this space, because its unnatural to view, and causes a viewer to reconsider the painted image. I’ve never been concerned with accuracy, so scale is another way to force both myself and the viewer outside of the confines of expected modes of representation. Also, I’m quite aggressive and physical when I paint, so I like the immediacy of painting on a larger canvas. I do paint very small as well, for precisely the opposite reasons that I enjoy painting large scale: I like to challenge myself through restraint, and to achieve similar but different results on a smaller scale is extremely challenging. Where do you hope to be in the next few years? Hopefully still in London, and hopefully still producing paintings that challenge me and that people respond to. Finally, what advice would you give to aspiring painters? I always say the same thing: it takes talent, hard work, and perseverance. No young artist will ever succeed without belief in oneself and these three things in spades. <
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Andrew Salgado andrewsalgado.com
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NEIL HOLDEN ‘In 1979…tens of thousands of public-‐workers strike in the beginning of what becomes known as the "Winter of Discontent" James Callaghan's government looses a motion of confidence by one vote, forcing a general election. The Conservatives wins by a 43-‐seat majority making Margaret Thatcher the first female Prime Minister of the United Kingdom. Housing Bill gives council house tenants the right to buy their homes. Sid Vicious, the former Sex Pistols guitarist, is found dead in New York. Trevor Francis signs for Nottingham Forest in British football's first £1 million deal. Pink Floyd’s ‘Another Brick In The Wall’ replaced the Police’s ‘Walking On The Moon’ at the top of the UK music chart to become the Christmas number 1. The Deer Hunter wins Oscar for best picture. Kelly Brook, Jamie Cullum, Pete Doherty, Sophie Ellis-‐Bextor, Kate Hudson, Norah Jones, Heath Ledger, James McAvoy, Michael Owen, Pink, Jonny Wilkinson and Will Young are born. Daredevil Eddie Kidd performs an 80 ft jump on a motorcycle. The band Spandau Ballet begins to play under this name. Ilfospeed Multigrade resin coated (RC) paper is launched in the UK. I enroll at 17 onto a 3year College Diploma course in Advertising, Editorial and Fashion Photography at Bournemouth & Poole College of Art and Design. This was the start of a disastrous financial love affair with photography, which has unfortunately lasted on and off until this day! In the past, one of my previous bank managers, too numerous to mention, advised me that it might be less stressful and more economical if I just stood on a street corner and gave five pound notes away to complete strangers! This was primarily due to the account departments of various fashion PR companies I was shooting
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for. One kindly account manager took the time to explain how the system worked. “All creditors names went into a hat. At the end of every month, one lucky creditor name would be pulled out and paid! Any body who chased payment or complained, their name did not go in the hat!” So in the 80’s I was always skint and had to scratch around to find any lighting I could blag, steal or borrow. On a good day I worked with a HMI movie light and on a bad day I shot using candles. All you need is a lot of candles and a mirror. The only downside when shooting beauty is that it is bloody hot for the model who tend to sweat, which is not good for the makeup and bloody dangerous when using hairspray! Also there was a major issue with hot cascading wax. There was logic behind it! If it was good enough for the old masters! It was cheap, no electric needed and heated up the studio / living room. The 80’s were a creative period. No Photoshop! All the work was done in the camera or in the darkroom. Everybody was looking for their own unique style and would try any crazy idea that would get them discovered. Then everybody would rip off the style and head over to Vogue. Unfortunately, Vogue only booked Albert Watson or Steven Meisel. I was recently asked how would I best describe myself as a photographer. I suppose an optimistic enthusiastic amateur with a professional attitude. Skint, but still snapping after 30 years later. I now live in Plymouth and am currently working on several arts health projects and to promote photography under the title ‘One Red Dot’ working closely with CHIK, Community Health in Keyham. I also grow and sell spicy baby leaf salad and lemon cucumbers from the Greenhouse In Devonport Park to raise wonga for the Friends of Devonport Park and I have just become the Volunteer Project and Promotions Coordinator for Devonport Guildhall exhibitions. So plenty to keep me busy.’
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Lee  Connor leedavidsonconnor.tumblr.com TRIBE MAGAZINE ISSUE 21 73
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Japanese illustrator Keita Sagaki has a distinctive style of illustration. He talked to us recently about this unique take on his art.
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I would like to thank Peter Guest from Image Black & White Photographic Printers for pu;ng up with me for over 3 decades and who has lovingly processed and printed all of black and white work by-‐hand. Adam Togni from Silent-‐G for all his help and guidance with all my digital photography. Alan Toze from Adapt Graphics for his great wealth of knowledge of litho and digital prinFng. Norm, Norman Holmes from Kaya Gallery in Plymouth for all the beer, olives and bread. But more important for his warmth health, support and for being a great mate. NEIL HOLDEN facebook.com/pages/Neil-‐Holden-‐Photographer 80
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Sylwia Kubus
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the single life glyn davies Iâ&#x20AC;&#x2122;ve written before (in tribe #2, if youâ&#x20AC;&#x2122;re morbidly curious) about the continuing appeal of vinyl records and their surprising resurgence in the age of the digital download.
In that piece
it was mostly LPs and the artwork in which they were sheathed that was under discussion, followed by my own cod theories on why vinyl has been so resilient against all reasonable odds, the conclusion being that vinyl is still considered cool, sounds good and is aesthetically appealing as an item, something worth owning, keeping and collecting, as opposed to deeply faceless and impersonal digital
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downloads.
In the distant pre-digital past, when downloading any kind of
data took several weeks under strict laboratory conditions, if it was a short sharp fix of catchy pop you were after, the most effective way of getting it was to purchase it on a small, flat, black plastic disc.
When
you look at all the possible delivery media for pop music past and present, has there ever been anything quite as perfect as the 7-inch vinyl single?
While in most practical respects, the single is and has always been little more than a promotional tool for record companies to sell albums, it has nevertheless developed a life of its own over the past 60 years or so. Creating the perfect pop single has always been the holy grail for some musicians, a highly specialised musical artform that is very difficult to master fully.
The history of pop music is replete with moments where,
thanks to a sublime conjugation of songwriter, producer and artist, a certain alchemy occurred and a hit was created.
This kind of magic does
still happen, even in today’s micromanaged pop world, and has done so since the rock ‘n’ roll explosion of the 1950s, when this bothersome 45rpm interloper finally began to prove its worth both to those who bought music and those who sold it – small, cheap, less hassle to lug around and considerably more robust than the brittle 78s that had previously been the preferred single-play format.
The 1960s is generally regarded as the golden era of the single, from the post-Beatles preponderance of fresh-faced, squeaky-haired beat groups, through the innovative work of unhinged geniuses like Phil Spector and Joe Meek, to the soul and R’n’B classics that winged their way across the Atlantic from Detriot and Chicago, all aided and abetted by the pirate radio stations that kids were forced to tune in to, as the stuffy old broadcasting establishment, still trying to get off at Dunkirk, continued to look down its nose at this wretched pop phenomenon, dearly wishing it would just go away and get a sensible haircut.
Alas, the establishment was to be bitterly
disappointed, as pop would not only define youth culture throughout the final decades of the 20th century and beyond, but it would also give it its soundtrack.
And the haircuts would definitely get worse before they got
better. The 1970s, the decade in which brown inexplicably became the colour of choice for absolutely everything, was bookended by glam rock and punk respectively, two disparate musical movements which not only brought some riotous colour to what were otherwise drab times, but also relied upon the 7-inch single for their commercial traction, and in the case of punk,
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completely revitalised the format, introducing the wide-eyed music consumer to the wonders of coloured vinyl (“Any colour you like, as long as it’s phlegm.”).
The 1970s also brought us funk and disco, of course, although
funk was a mostly album-based genre, while disco, its brazenly perky offshoot, was largely responsible for another vinyl innovation, the 12-inch single, which, despite being a huge passion of mine, this article isn’t about.
More crucially, the 70s was responsible for what I believe to be the
greatest pop song ever written, ‘Hot Love’ by T. Rex.
Utterly subjective,
of course – your own reality will probably differ from mine – but to me, it’s absolutely perfect: it’s immediately catchy and hummable, the lyrics are complete gibberish, it ends with a sing-along chorus that goes on for several weeks and it was sung by a man so absurdly good looking, he had to die young simply to restore natural order to the cosmos.
Seriously, what’s
not to like?
The early 1980s heralded what was arguably the most creatively fertile era for pop music since the 1960s, and the single continued to thrive.
While
punk had very quickly dissipated into the more palatable sound of new wave, with its drainpipe jeans, skinny ties and power chords, the ripples it had left in its wake continued to be felt well into the next decade.
It was
also a remarkably diverse time, with no one genre or movement dictating the make-up of the Top 40 and, despite punk’s best efforts to strip rock ‘n’ roll of its vaingloriousness and glamour, marked the triumphant return of the truly flamboyant pop star, something which hadn’t been seen since the halcyon days of Marc Bolan and David Bowie nearly a decade earlier, and all of which was finely crafted to ensnare the young and create a generation of voracious music consumers.
And there was much to consume, as record companies employed increasingly nefarious ways to encourage music fans to part with their cash: along with vinyls in an increasingly revolting range of colours and patterns that made the mucus-inspired colourings of the punk era seem almost sedate by comparison, and a choice of several 12-inch remixes for the same song in a variety of different sleeves (we’ll chalk that little wheeze up to Frankie Goes To Hollywood), there was also – with a new generation of photogenic pop stars to exploit – the sonic aberration of the picture disc, a marketing device aimed purely at collectors, as they were virtually unlistenable as records.
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By the early 1990s, the vinyl single as a format was a spent force, its sales long surpassed, first by the cassette single and, later, the CD single.
The pop single itself continued unabated through another musically-
mixed era for pop, with dance music making its vibrant presence felt at the turn of the decade, Britpop and grunge ruling the airwaves through the middle – marking the permanent entry into the mainstream for indie and alternative music - before everything went horribly wrong in time for the turn of the new century, as the industry, in its desire to manipulate and control the charts absolutely, marketed out what little personality or meaning pop music still had left, trying to squeeze out those golden eggs even though the golden goose was long dead - only for people like Simon Cowell to resurrect it for their own egregious purposes.
The internet has helped to make things a little better than they were – allowing downloads into the charts has certainly made the Top 40 a lot more interesting than it was in the early 2000s, often turning it into a social media-led chaotic democracy, with official single releases sharing chart space with freakishly random tracks from every era and every conceivable genre, for no apparent reason.
The modern music fan is lucky enough to have
the whole of music history at their fingertips, and consumes music in ways which couldn’t have been imagined 20 or 30 years ago.
In the pre-digital days, the 7-inch single was traditionally a young person’s introduction to the intoxicating world of music; albums, being considerably more expensive, never came into the equation except as birthday and Christmas treats.
Singles were pocket-money priced and so were the
musical medium of choice for the pop-hungry teenager.
I was no different.
I didn’t start buying albums regularly until I was about 15 when, thanks to a paper round, I found myself with a comparatively generous disposable income.
Until then, I had only my weekly pocket-money, and that would only
stretch to a single - maybe two if I waited for a song to drop out of the Top 40 and into the bargain bin. single was usually good enough.
At that period in my life, however, a It was a three-minute musical injection
that kept you sated for a few weeks.
I still keep a tatty old shoebox next to my hi-fi, which is stuffed to the gills with about 200 singles.
These are the singles that, of the many
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hundreds I’ve bought or acquired over the past 30 years or so, are my absolute favourites, the ones I continue to play to this day and would form the contents of my mythical perfect jukebox.
The vast majority, as you
might expect of a 41-year-old, are from the 1980s; the oldest single in there is dated 1960, the most recent 1997.
It’s a fairly catholic mix of
eras and genres, and as such is fairly representative of my musical taste, which is unspeakable.
Don’t worry, I’m not going to waffle on about its
contents; this is emphatically not one of those articles.
You know the kind
of thing I mean: some cooler-than-thou hack trying to convince the world that the first single he ever bought was ‘London Calling’ by The Clash, when in reality it was probably ‘Some Girls’ by Racey.
Because, much as though
our carefully crafted self-image might want to pretend otherwise, nobody’s music taste arrives fully-formed, not to mention informed, straight from the womb.
We’ve all bought some hideous records in our time, especially when
our music taste was still in its formation process. fun.
That’s all part of the
It’s also one of the great paradoxes of pop music that a song can be
truly awful, and yet still be utterly brilliant.
One of the things I have always loved about singles is the lottery of the Bside.
In the early days of the single, the B-side usually enjoyed equal
billing with the A-side, and would often get a separate chart position until the rules were changed. In the 1950s, an artist’s albums were generally compilations of that year’s singles and B-sides, with perhaps a couple of extra tracks to make it worth buying for the more obsessive fans.
As the
decades moved on, and albums became more of a creative statement, B-sides increasingly became an afterthought for many artists, who would just slap on a song that didn’t make the final cut of the album.
Some artists, however,
put as much effort into their flip-sides as they did the main song. Sometimes you’d get a hidden gem that even surpassed the A-side, or perhaps just something a bit quirky that was outside the artist’s usual sphere. Most of the time, of course, the B-side would be utter drivel – a lot of songs don’t make the final cut of the album for good reason.
As the 1980s
wore on, instrumental versions of the A-side became increasingly common, and this was something I always felt a little bit cheated by, having parted with my pocket-money in good faith.
The 7-inch single is these days viewed by most people as a quaint curiosity, an archaic relic of the way we used to do things before we knew better, and of no more relevance to the modern age than a horse-drawn carriage or
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smallpox.
Who’s to say they’re not right?
Had I not grown up with them,
I’m certain I would have taken to downloads like a priest to whisky.
Vinyl
records are far from practical, after all, and take up a great deal of your living space, whereas a hard-drive does not.
A decade from now, or perhaps
even in five years, all physical media will be the sole province of nostalgic eccentrics like me who still get something out of “owning” music and movies.
But a record collection can often be like a time capsule.
There are many
items in mine that evoke certain memories, taking me right back to the time I bought them.
That hazy nostalgic fuzz descends, as I reflect on what was
going on in my life at that particular time. feeling; music does that to you.
It can sometimes be a powerful
I also have things in my music collection
that I have absolutely no recollection of getting hold of, and yet they still retain a certain importance; I’ve often no idea how or why I acquired a particular record at a particular time, I’m only glad that I did.
I have
records that I’ve nicked from parties, or rescued from the bedroom floors of friends who treated their records with less reverence than I did, or picked up at car-boot sales or in second hand shops.
Back in the early 90s, I was
often given huge stacks of vinyl by people who’d got rid of their record players and embraced newer technologies, because they knew I was “into music”.
This still happens to me now, only these days I’m given huge stacks
of CDs by people who’ve decided to stuff their entire music collection onto a hard-drive somewhere. treasure trove.
What some people regard as “clutter”, I view as a
Although finding storage space is always a real pain.
we suffer for our passions.
How
Personally, I think sagging shelves and wonky
floorboards are a small price to pay.
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glyn@tribemagazine.org
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Ellen Jantzen ellenjantzen.com
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Interview by Hope Grimson
EVELYN KNIGHTLEY Evelyn is a young writer and poet, currently in the process of self-publishing her debut anthology 'I Haven't Lived At All.' As a self-published writer what has been the biggest challenges you have faced? A combination of a couple of things, the first being time. There never seem to be enough hours in the day to do everything you need to, and your to-do list becomes the last thing you think of at night and wakes you up at an inconsiderate time. The second would be realising how little you know, you can research into self-publishing as many times as you want, but it never fully prepares you for the real experience; the entire thing is a long learning curve and often feels like you're just making it all up as you go along. What sparked you to leave higher education to pursue your own writing? There were a few things that made me realise higher education just wasn't for me. I had just returned to University after taking a
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semester off, and I was so un-motivated and all I could think about was a story I had just started writing before returning. I became even more unfocused and there wasn't a single thing about University that I really enjoyed. I'd made the decision to not move away to university because I didn't want that to become my entire life, I eventually realised that it just wasn't my priority. I had changed my course choice a couple of times, Psychology always being my major and floating between English Literature and Anthropology as my minor. Everything about it didn't 'sit' well with me. I'm not out for the kind of career a degree can get me; I was simply buying myself more time to figure out what it was I was going to do. I spent one night with a friend talking about my options for hours, and the conversation just went round in circles as it was clear that I did not want to stay at University and writing was all I ever wanted to do, I had just been too scared to accept this for a long time. What advice would you give to anyone looking to pursue a career as a writer or a self-published author? Never expect help, but accept it when it's there. The process is hard, stressful (especially alongside full time work) and it can be isolating. It's easy to regret making the decision to publish your work, so it's important to keep yourself surrounded by people who will support you and remind you of all the positive things that can come from a process like this. There are many people out there who are going to doubt you and offer nothing but negativity, and that can be overwhelming, but you have to remember why you're doing it. For me, it's not to get everybody's approval and for everybody to love the book (although that would be good,) it's just something I felt like I needed to do- so any support or positive feedback is more than could have been expected. Sometimes you have to take a step back to fully appreciate everything that you're achieving; which leads me on to the final bit of advice- it's okay to be proud of yourself. Can you describe your creative process, what inspires you? Living is my biggest inspiration, closely followed by other creative arts. This is a clichĂŠ but I've always believed that the best way for me to improve and grow as a writer isn't by studying it in a structured form, but to learn about other things in life; reading as many books as you can, watching movies, listening to music, travelling and meeting new people. It's those experiences that differentiate one person from
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the next so I feel like the more I do those things the better my writing can be. I have no real structure to my writing, and I can't sit down and just decide to write- which makes the process quite slow at times, but it feels more organic. Inspiration usually hits me when I should be sleeping, I'll get a small image in my mind and it inspires me, and a story grows from there. Occasionally I'll have a dream and I can remember a tiny section of it, so I fill in the gaps myself. Sometimes, I just feel like I have something to say so that will either become a poem or the sentiments can be the basis for a character or story. You have your debut anthology â&#x20AC;&#x2DC;I havenâ&#x20AC;&#x2122;t lived at allâ&#x20AC;&#x2122;, a collection of poems and short stories; what issues and themes do you explore in this work? The most obvious theme is highlighted by the title, surviving and going through the motions rather than really living. There's a lot to do with expectations and disappointment, aspiration, growing up. The poems and stories themselves focus more on the individual and follow a change in attitude; acceptance of what has been and willingness to try for more. Overall, it's recognising that you're the main conductor of your life, but only if you allow yourself to be. You are also co-creator and blogger for the online Feminist magazine NAUSICA, does this influence your writing and the construction of your character? I'd have to say not really, or at least not as of yet. Feminism is something I'm incredibly passionate about, but Nausica allows me to express those feelings there, and there's yet to be a case where it's necessary for me to bring my own political or personal views into a piece of my writing. This hasn't been intentional, and it's not to say that my feminist views will never manifest into a character, but if it did happen I'd have to be careful not to alienate the reader and allow it to overshadow everything else. How has the internet and social media impacted your work, do you feel it makes it more accessible? Absolutely, the large majority of working on the book has taken place online, especially marketing and promotion. It's enabled me to connect with so many different people and it's a massive fountain of knowledge that I otherwise wouldn't have access to. It is also a
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brilliant procrastination tool, but I'm not sure how much of a good thing that is.
What are your plans for the future are you working on any new projects?
What has been the most enjoyable aspect of your
I've included an excerpt in the book from a story I
work thus far?
hope to publish in the future, although progress on this
I've recently found my book on the Waterstones
has been slow since my time has been taken up from
website; I think that has to be a highlight. It's one
releasing â&#x20AC;&#x2DC;I Have Not Lived At Allâ&#x20AC;&#x2122;. I started it about
thing to see your book in print, and finally being able
8 months ago and I'm still interested in it every time I
to hold my book was incredible, but Waterstones must
go back to writing it- so that's always a good sign. I
be my most visited shop and I'm able to spend so
really just hope that my future consists of releasing
many hours just browsing, so having my book on their
more books and continuing to enjoy writing. I'm also
website ticks so many of my boxes and is very hard to
interested in connecting with other writers, I've
believe! It's also been incredible getting feedback on
recently started reviewing books on my blog, so I'll
my work; thus far it's been so positive and
continue to do this and perhaps one day venture into
considering. I've always been too terrified to share my
the world of editing too. <
work before this, it's an overwhelming thing to experience and I'll never get used to hearing good things about my writing. TRIBE MAGAZINE ISSUE 21 99
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NI.CO.LA
Extract from Fractured Fantasy By Evelyn Knightley ‘It was clear to see by her face that the mother had been badly hurt in the past. Her face itself did not appear to be aged, but there was a sadness in her eyes that never left and a harshness to her face that never lifted. As such, she had chosen to spend the rest of her life in solitude. She tried to instill this way of living into her Adrianna, reminding her that whilst she may feel lonely, it was only to protect her from being hurt. As Adrianna grew older, the tale of her mother’s woes was told more and more frequently. A tale of how she once loved a man, and a tale of how he almost killed her and Adrianna. At first, he appeared to be the man of her dreams. He would soon learn her secrets and was unwilling to accept her as she was. Underneath his smile, a cruel man was waiting to be unleashed and he relished in the opportunity she gave him. He saw her as undeserving of life, and so he took it into his own hands to rid her of it.’
evelynknightley.co.uk
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