PANL #19 by Mattmo

002

003

INDEX

introduction

P 006 - 007 004

commissioned fashion

P 032-058

commissioned people

P 076-100

personal objects

P 122-151

commissioned documentary

P 008-029

interview René Repko P 059-061

interview Narda van ’t Veer P 101-103

interview Gilian Schrofer P 141-143

interview André Bosman & Marcel van der Vlugt P 029-031

commissioned interior & exterior P 062-075

commissioned Still Life

P 104-121

personal people

P 152-197

INDEX

interview Edo Kars & Robin de Puy

personal places

interview Monique Mulder

P 161-163

P 198-217

P 241-243

student work

ALL Entries

The Judges

P 218-255

P 257-282

P 283-289

the nominees

P 291

sponsors

P 298-299

ALL members

P 292-295

colophon

P 300

credits

P 296-297

ads

P 302-320

005

Introduction

006

Photo by Arie de Leeuw

The PANL Board

Introduction

19th SONY

AWARDS

To the great surprise of all, within PANL, the crisis year of 2009 produced a high quality of submitted photographic work to the 19th PANL Sony Awards. This year the jury was spoiled for choice. It was briefed to find a healthy balance between commissioned and personal work. We carefully chose a chairman to lead the jury in realising this goal. PANL is, after all, an organisation that represents professional photographers. The number of submissions was down slightly but the number of members who submitted was up from last year. Of the 730 submissions less than half got through to the second round. The jury was in full force and voice throughout the sessions. A really committed group.

The PANL Board

makes tangible our continuing healthy relationship. We will also be actively looking for new sponsors to broaden our activities. Our goal for a more international stage will require broader support. We have continued to build on the last few successful years of PANL. In particular the last year has been one of strengthening our base. We have further improved and expanded our Board. The majority of whom are new. I will, after five fulfilling and very challenging years, be making way for a new Chairman, Ole Christern. He will be challenged to take PANL further on its chosen course of being the voice of Dutch professional photographers recognised and respected at home and abroad.

PANL was founded in 1990, twenty years ago this year. Something to celebrate. At the end of this, our forth lustrum, we aim to create a series of special events to mark the To grow the fashion category with- occasion. A great chance to promote in PANL, we also invited magazines ourselves and Dutch Professional to submit work to be judged. Many Photography. of the top publications in the Dutch market actively participated. It was The basis of what drives and stia real boost for our fashion phomulates creative people is chaltographers and for the standing of lenge. We are driven by the lingerPANL, as an association that repre- ing thought; you are only as good sents a diversity of photographers. as your last work. The creative acclaim, that our annual PANL Our continuing relationship with Award brings, remains a constant Sony is mutually fruitful. This is stimulus for them to raise the bar. our third year together and the In times of crisis the phoenix relationship has become more mentality of renewal takes the lead solid over the years. This, the 19th forward. Creative people are more Annual PANL Sony Awards, equipped than most to reinvent

them selves. Renewal is after all the basic instinct of being creative. The content in this book is proof of this. What ever your field, age or taste you should find something that challenges and surprises you. On behalf of the whole PANL Board I wish you a good, eyeopening read. Eugene Bay, Chairman PANL

007

m m o C cu o

i s s i m en m u

Commissioned Documentary

Overview

Marieke van der Velden

Silver + Membersâ&#x20AC;&#x2122; Choice p 014 - 015

Jan van Breda

Bronze p 016 - 020 010 Frank Tielemans

Nomination p 022 - 026

The Winners

Overview

Commissioned Documentary

The Winners

011

Overview

012

Commissioned Documentary

The Winners

Overview

Commissioned Documentary

The Winners

013

Commissioned Documentary

014

Marieke van der Velden

Silver + Membersâ&#x20AC;&#x2122; Choice

QUOTE

Marieke van der Velden

‘ it’s life & life only.’

015

Commissioned Documentary

016

Jan van Breda

Bronze

Commissioned Documentary

Jan van Breda

Bronze

017

Commissioned Documentary

018

Jan van Breda

Bronze

Commissioned Documentary

Jan van Breda

Bronze

019

Commissioned Documentary

020

Jan van Breda

Bronze

021

Commissioned Documentary

022

Frank Tielemans

Nomination

Commissioned Documentary

Frank Tielemans

Nomination

023

Commissioned Documentary

024

Frank Tielemans

Nomination

Commissioned Documentary

Frank Tielemans

Nomination

025

Commissioned Documentary

026

Frank Tielemans

Nomination

crisis

reinvention

Interview

André Bosman

Text by Annemieke Bartholomeus & Gusta Winnubst Photo by Jens van der Velde

When Polaroid closed the last of its production locations in June 2008, this seemed to signal the demise of instant photography. But then “The Impossible Project” came to the rescue. Over a period of 18 months, the initiators worked on restart at the former Polaroid plant in Enschede. They pulled off what seemed 029 technically impossible, launching the first revamped – But every inch the original – black & white Polaroid film in New York.

ack to B the future

Executive director André Bosman worked at Polaroid for 28 years and never lost faith in the products. Even when making them was no longer realistic. “Eighteen of the twenty main components for the films were no longer available: the negative, the developer, the positive… Our mission, to somehow make the same products, was literally impossible. You’ll always see a difference between the original Polaroids and ours, but we’ve come close. We started with black & white film, but we’re working on colour films as well, where we’re going for a somewhat antique look. That proved more popular among users than later films, whose colour quality was actually better. But our customers don’t want perfect photos. >

Interview

> The charm of Polaroid is really in its imperfection. We’re targeting people who want to use photography in a creative and playful way, who want to experiment. You can use all kinds of techniques to process Polaroid film, such as heating up the pictures and then manipulating the middle layer using a ballpoint pen.”

030 Prior to the press conference present-

ing the first black & white film, the project group sent a number of film tags to several art photographers who had frequently worked with Polaroid in the past. “We were able to display the results of their experiments at the introduction. And it also meant we had a new edition of the Polaroid Collection from the start.” The impossible was made possible: the machines in Enschede are operating at full capacity again. “It was a daring project, but together with my business partners Florian Kaps and Marwan Saba we managed to raise the capital, buy the old machines and lease one of the existing plant buildings. Then a small team of us in Enschede got down to development and production. We’re not worried about the cameras: there are an absurd number still circulating around the world. They never seem to break. Moreover, Polaroid has announced plans to start manufacturing new ones.” The Impossible Project is on the verge of reaping the rewards of its efforts. “The fact that digital photography has expanded enormously doesn’t mean that instant photography will disappear. After all, radio carried on when television came along; newspapers alongside the internet. A digital camera allows you

André Bosman

to immediately see your picture on the viewfinder, but that doesn’t mean it can replace instant photography. By far the majority of digital photos ends up somewhere in a computer folder; people take hundreds of shots but almost nothing gets printed. It costs nothing, but it also loses its value as a result. With instant photography, you think hard before pushing the button. It’s really for a certain type of hobbyist; it won’t ever be mainstream. Which is a good thing. It should remain exclusive.”

Polaroid is like a drug Photographer Marcel van der Vlugt is part of the exclusive groups The Impossible Project has in mind for its revamped range of products. Circumspect, he takes time for his photographs. And the result is a highly praised body of photography that stimulates the senses and suggests a fascination for beauty and transience. He is among the photographers who have elevated instant photography to an art form. Van der Vlugt likes the seeming slowness of the medium, which enables him to be very precise. Each shot is a carefully deliberated choice. “People often ask me what is so special about Polaroid. That makes me smile. You can only really understand when you’ve worked with it; then you’re sold. This is true both for the photographer and the model. Capturing the ultimate image in one or two shots, or only after a chain reaction of 40 different feelings. The magic of Polaroid is the sensation you get when you open a developed picture. Instant hard core poetry. The 8x10-inch film is the most incredible there is. The beautiful, soft, unsaturated colours and the special contrast, which is sometimes a happy accident. It’s like a drug. I’ve been using it for 25 years; in the Brazilian jungle, on the beach in Miami or the Matterhorn mountain. The blessed smell of the chemicals has permanently permeated my studio. Some

people have even sniffed the enamel pens that were packaged together with the black & white photo materials. Nowadays the trance, the concentration required to make that one unique image that can be framed after ninety seconds, is gone. Polaroid, I will miss you. I hope that The Impossible Project will add to their small Image and SX-70 or 600 films by including large format 8x10-inch. Then I can experience that same kick again.”

Polaroid Collection up for auction In its fifty-plus year history, Polaroid often distributed free cameras and materials to famous photographers in exchange for a few of their instant pictures. A golden marketing tool that led to the creation of a wonderful collection of over 16,000 photographs. Among the hundreds of contributing photographers and artists there are such great names as Andy Warhol, Ansel Adams, David Hockney, Chuck Close, Olivia Parker en Robert Rauschenberg. Now that the parent company has closed its doors, this very prestigious collection is for sale at Sotheby’s in New York. A portion will be auctioned, with some 1,200 Polaroids to go on the block this summer. They are expected to raise between 7.5 and 11.5 million dollars. A stroke of luck for collectors and photography lovers, and yet it also means that an important collection – of impressive range and depth – will become scattered.

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m m o C one i s sh a 032

i m d e n o i h

033

Overview

Commissioned Fashion

Glamour / Petrovsky & Ramone

Silver p 038 - 045

CODE / Bianca Pilet

Nomination p 046 - 050 034 Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice p 052 - 056

The Winners

Overview

Commissioned Fashion

The Winners

035

Overview

036

Commissioned Fashion

The Winners

Overview

Commissioned Fashion

The Winners

037

Commissioned Fashion

038

Glamour / Petrovsky & Ramone

Silver

Commissioned Fashion

Glamour / Petrovsky & Ramone

Silver

039

Commissioned Fashion

040

Glamour / Petrovsky & Ramone

Silver

Commissioned Fashion

Glamour / Petrovsky & Ramone

Silver

041

Commissioned Fashion

042

Glamour / Petrovsky & Ramone

Silver

043

client Glamour

Petrovsky & Ramone

Silver

044

PANL /////

045

FROZEN & DYNAMIC

Commissioned Fashion

046

CODE / Bianca Pilet

Nomination

Commissioned Fashion

CODE / Bianca Pilet

Nomination

047

Commissioned Fashion

048

CODE / Bianca Pilet

Nomination

Commissioned Fashion

CODE / Bianca Pilet

Nomination

049

Commissioned Fashion

050

CODE / Bianca Pilet

Nomination

051

Commissioned Fashion

052

Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice

Commissioned Fashion

Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice

053

Commissioned Fashion

054

Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice

Commissioned Fashion

Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice

055

Commissioned Fashion

056

Lisa Kortenhorst

Membersâ&#x20AC;&#x2122; Choice

crisis

057

Commissioned Documentary

Naam XXX XXX

Price xxx xxxx

redevelop

Interview

René Repko

Text by Gusta Winnubst Photo by Jens van der Velde

René Repko is a strong personality with a strong vision. As marketing director for the Hema retail chain, his task is to powerfully formulate and visualise what the Hema brand stands for. “Unique simplicity. This must be translated into formula concepts, new store styles, advertising concepts, price concepts and selection concepts.” And in this process, image and image creation must go hand in hand. Everything Hema does must radiate the message: Hema makes people’s lives easier and more fun. And its selection of products must be positioned on the cutting edge of low price, fine quality and good design. Repko: “Good design is also important. After all, just because people don’t want to pay high prices, they shouldn’t be punished with inferior design. A lower priced product can certainly look well-designed. That’s the most outstanding characteristic of our house brand. Hema has thus found its own niche over the course of its eighty-year history. And we did a good job. As part of the brand architecture, conscious thought went into the fact that every product is exclusively Hema. Monoprix, our French equivalent, has since included all kinds of other brands in its selection. But we have held on to our own product range. Because it works. Since the 1990s, the elements of our style and image have become more important. Take, for instance, the design prize that led to the famous ‘Lapin’ tea kettle.

059 59

We’ve carefully developed our own style and create relevant designs. And the quality is very good. But that doesn’t mean we can sit back and relax; we have to keep a close eye on the ‘P’ for price. In this economy, we must remain vigilant because before you know it, your price level lags behind. An equally important factor in Hema’s success is its policy of product pre-selection. Hema offers essential options. The ideal mug, the right underpants, the tastiest wine or just the bread you’re looking for. Unlike in a department store or specialty shop, you’ll always find a range of products that Hema has carefully put together.” Despite or perhaps thanks to the crisis, Hema’s success is expanding. The company is opening more stores and increasing sales at existing locations. And Europe is beckoning. Compared to six years ago when the sober Dutch concept was precisely copied for the German market, Hema is using more caution and a different approach. >

Interview

René Repko

These days, Hema outsources a lot of what the company once did itself, including photography. Repko doesn’t want to be tied down to it because the market is so changeable. The current direction of the campaign-like photography, so unmistakably Hema, was developed a couple of years ago by Morad Bouchakour. “Lomography, slice of life and – more to the point – far from preachy advertising. Real people, close to your heart. That kind of photography is our signature. And it is crucial to all our campaigns. You see this imagery and these shots in the store, on TV, on POS materials. It is such a clear concept that the way of thinking and working with photography and commercials has now been adopted by other photographers. A beautiful clear shot of a product on a white surface: that, too, is typically Hema. This is how the integrate everything related to brand products are presented in the store and in identity, from corporate design to packag- catalogues. And we’ve recently adopted ing and from POS to fleet marking and a new photography style for the vehicle advertising. That means establishing fleet. Time and again a product that is good connections between design and ad- blown up and beautifully photographed vertising. Hema is a special brand, with a in an ‘iconic’ style against a stark white special language and I want to be able to background, with the pay off ‘echt Hema’ share that with people who understand. (truly Hema). Examples might be a set of Which is why I sought and found new reading glasses or a sophisticated bra.” partners: Doom & Dickson advertising agency and Koeweiden Postma design Keeping an eye on the big picture while agency. I told them: ‘Figure out for your- remaining aware of the smallest details, selves how you plan to cooperate, but I that is René Repko’s style. An examwant the team to work well on all fronts. ple: Hema’s head office will be moving That idea proved successful. I didn’t shortly to a new building in the north want to fall into the trap of discovering of Amsterdam. “Someone showed me, that the campaign and the design were in passing, the names of the meeting not aligned. I’d recommend the same ap- rooms. Clearly, he understood nothing proach for most brands. What I don’t get about brand identity, which should also is the number and size of pitches market- be reflected in those rooms. That’s someing people request. It’s as if many young thing I want to think about; I want to marketeers do it for fun. Do you really be there when those decisions are made. have so little belief in your own brand Sometimes I have a very definite idea and position that you have to ask six agencies sometimes it may be less distinct. But to come up with ideas? We actually try to I always have a clear idea of where the establish long-term working relationships brand is going. The Hema brand is meanwith agencies. I want to forge a partneringful to me; I love it and it is very close ship with these people so that they under- to me. I couldn’t do what I do for toilet stand and share my professional concerns. bowl cleaner.” That works!”

The unique simplicity of a strong brand 060 > “On a global scale, Hema is a small player, which makes it even more attractive to look across the border for growth – and with that, purchasing power. Ikea, H&M and Zara had a tough time when they made their first foray abroad. Now we’re taking cultural differences into account. In Germany, the product range and presentation have been adjusted. And our store in Paris doesn’t sell smoked sausage. In completely new markets I look for store concepts that present the products even better than in the average Dutch store. I consider other ways to display products attractively and by theme, such as the ‘family grouping’ with a look of its own, unmistakably Hema. The Paris store is located in a busy shopping centre and the location will have to attract shoppers because we have no budget to mount a big advertising campaign. Of course we also have catalogues in the same clear style we use in the Netherlands.” For years, Hema produced a lot of its communication material internally and worked with a large number of agencies. “When I started, I launched a major spring cleaning. I wanted to bring the brand identity up to date. My aim is to

061

o C one i s te n i Ex

d e or i r e eri t x

Overview

Commissioned Interior & Exterior

Eddo Hartmann

Bronze p 068 - 071

Ronald Tilleman

Nomination + Membersâ&#x20AC;&#x2122; Choice p 072 - 073 064 Oof Verschuren

Nomination p 074 - 075

The Winners

Overview

Commissioned Interior & Exterior

The Winners

065

Overview

066

Commissioned Interior & Exterior

The Winners

Overview

Commissioned Interior & Exterior

The Winners

067

Commissioned Interior & Exterior

068

Eddo Hartmann

Bronze

Commissioned Interior & Exterior

Eddo Hartmann

Bronze

069

Commissioned Interior & Exterior

070

Eddo Hartmann

Bronze

Commissioned Interior & Exterior

Eddo Hartmann

Bronze

071

Commissioned Interior & Exterior

072

Ronald Tilleman

Nomination + Members

073

Commissioned Interior & Exterior

074

Oof Verschuren

Nomination

Commissioned Interior & Exterior

Oof Verschuren

Nomination

075

076

m o c o i s e P

m m ed n o ple o e 077

Overview

Commissioned People

The Winners

Giuliyani

Jan van Breda

Gold + Membersâ&#x20AC;&#x2122; Choice

Nomination

PANL sony

Award #19

p 094

p 082 - 087

Jochem Sanders

Silver 078

Willeke Duijvekam

Nomination p 097

p 088 - 089

Mirjam Brinkhof

Bronze

Bronze p 092 - 093

Nomination p 098 - 100

p 090 - 092

Jeroen Hofman

Judith Jockel

Overview

Commissioned People

The Winners

079

Overview

080

Commissioned People

The Winners

Overview

Commissioned People

The Winners

081

082

the big winner is...

Commissioned People

Giuliyani

Gold + Membersâ&#x20AC;&#x2122; Choice

083

Commissioned People

084

Giuliyani

Gold + Membersâ&#x20AC;&#x2122; Choice

Commissioned People

Giuliyani

Gold + Membersâ&#x20AC;&#x2122; Choice

085

Commissioned People

086

Giuliyani

Gold + Membersâ&#x20AC;&#x2122; Choice

Commissioned People

Giuliyani

Gold + Membersâ&#x20AC;&#x2122; Choice

087

Commissioned People

088

Jochem Sanders

Silver

Commissioned People

Jochem Sanders

Silver

089

Commissioned People

090

Mirjam Brinkhof

Bronze

091

Commissioned People

092

Jeroen Hofman

Bronze

Commissioned People

Jeroen Hofman

Bronze

093

Commissioned People

094

Jan van Breda

Nomination

crisis

reconsider

Commissioned People

Willeke Duijvekam

Nomination

097

client xxx

Judith Jockel

Nomination

098

PANL /////

099

POSED & PONIANT

Commissioned People

100

Judith Jockel

Nomination

Interview

Narda van ’t Veer

Text by Gusta Winnubst Photo by Jens van der Velde

Crisis? It’s actually a quality crisis! 101

Agents are a rare breed. There are, of course, plenty of production companies, but very few real agents who visit the academies, trawling for talent they then guide to the top of their field. Narda van ’t Veer is one of the exceptions. For over 23 years she has been using her sharp eye and passion for photography and illustration as part of the Unit cma team.

“Turning an unknown talent into a big name is what I like to do best; intensively guiding them in their own work and on assignments.” Her first discovery was Carli Hermès, who is still part of her team. A star who is still hired every day, despite the economic downturn. “The crisis is not just about money. Budgets are, of course, far lower. We must make do with less, and we have. But money is not the most important problem, quality is. And that’s a much more interesting and important discussion in our field. I get the biggest kick out of recognising and channelling quality. >

Naam Achternaam

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Interview

Narda van ’t Veer

> Anyone can take a nice picture with their iPhone if that’s the standard… Furthermore, agencies are dependent on clients and are afraid to take risks. The client is the boss. And clients must make choices about the kind of quality they want and that’s where quality gets compromised. Photography has been in the penalty box for quite some time. I know quality will ultimately win out, but things are progressing very slowly. I’ve got a binder with a small fortune in estimates for assignments that were never carried out or were changed in mid-stream, often for reasons other than budget.” Narda isn’t particularly optimistic about the near future. “You see the lower image quality in ad campaigns too. In magazines and outdoor advertising; partly due to the use of stock photos.” Still, this isn’t the first crisis she’s been through. In the nearly quarter-century her agency has been in business, Narda has experienced a number of crises. The absolute bottom was the drama of losing everything in her New York office in 2001. “We were right across from the WTC and waited three weeks before we were allowed to see what was left of our office.

Absolutely nothing. But those eight years in America taught us a great deal. They are much more efficient there; tougher, clearer about what they want and don’t want. My business in America was of great benefit to me. We worked for elite magazines like Vanity Fair and Vogue as well as amazing brands. And we still maintain those contacts. Plus, I continue to work with lots of illustrators all over the world from that time.” Meanwhile, Narda hopes the current crisis will bring positive changes. “New trends – including visual developments – often emerge during an economic crisis. Unfortunately, I’m not seeing it yet in photography, advertising or even art, which is a pity. Photography schools could really play a role here, even if times have changed. Back when Carli finished school, there were five photography graduates a year. Now there are a hundred! And that’s not including the private courses. Too many photographers producing too much of the same work. The trick is knowing how to pick the diamond in the rough.”

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m m o C one i s ill 0104

s i m d e ife l l 0105

Overview

Commissioned Still Life

RenĂŠ van der Hulst

Silver p 110 - 112

Erik Hijweege

Bronze p 115 106 Maarten Wouters

Nomination + Membersâ&#x20AC;&#x2122; Choice p 116 - 119

Alexandra Brand

Nomination p 120 - 121

The Winners

Overview

Commissioned Still Life

The Winners

107

Overview

108

Commissioned Still Life

The Winners

Overview

Commissioned Still Life

The Winners

109

client Design Academy

RenĂŠ van der Hulst

Silver

110

PANL /////

111

MINIMAL & LOADED

Commissioned Still Life

RenĂŠ van der Hulst

Silver

crisis

recreate

Commissioned Still Life

Erik Hijweege

Bronze

115

Commissioned Still Life

116

Maarten Wouters

Nomination + Membersâ&#x20AC;&#x2122; Choice

Commissioned Still Life

Maarten Wouters

Nomination + Membersâ&#x20AC;&#x2122; Choice

117

Commissioned Still Life

118

Maarten Wouters

Nomination + Membersâ&#x20AC;&#x2122; Choice

Commissioned Still Life

Maarten Wouters

Nomination + Membersâ&#x20AC;&#x2122; Choice

119

Commissioned Still Life

120

Alexandra Brand

Nomination

Commissioned Still Life

Alexandra Brand

Nomination

121

s r e p je b 122

l a n o s ts c e 123

Overview

The Winners

Personal Objects

Pim Vuik

Christian Fielden

Silver

Nomination

p 128 - 129

p 144 - 147

Arjan Benning

Joris Ten Bosch

Bronze

Nomination

p 130 - 131

p 148 - 151

124 Linda Jansen

Nomination + Membersâ&#x20AC;&#x2122; Choice p 132 - 133

RenĂŠ Bosch

Nomination p 134 - 138

Overview

Personal Objects

The Winners

125

Overview

126

Personal Objects

The Winners

Overview

Personal Objects

The Winners

127

Personal Objects

128

Pim Vuik

Silver

129

Personal Objects

130

Arjan Benning

Bronze

Personal Objects

Arjan Benning

Bronze

131

QUOTE

132

Linda Jansen

' The astonishment I have for my subject makes me able to see elements of surprising beauty in it. By putting these elements under a magnifying glass I create another reality, a parallel universe.'

Personal Objects

Linda Jansen

Nomination + Membersâ&#x20AC;&#x2122; Choice

133

Personal Objects

134

RenĂŠ Bosch

Nomination

Personal Objects

RenĂŠ Bosch

Nomination

135

Personal Objects

136

RenĂŠ Bosch

Nomination

Personal Objects

RenĂŠ Bosch

Nomination

137

Personal Objects

138

RenĂŠ Bosch

Nomination

crisis

139

reboost

Interview

Gillian Schrofer

Text by Gusta Winnubst Photo by Jens van der Velde

Gilian Schrofer is a bear of a guy. So it’s barely believable that his hands are equally deft at reconstructing a scale model of one of his interior designs – down to the smallest detail – and an exquisite, delicate cake. Thinking big while at the same time focusing on detail. Gilian is a multi-faceted designer who calls himself a generalist but likes to work with specialists so he can learn from them.

He is a curious and inquisitive fellow. It was just ten years ago that he discovered, quite by accident, why he didn’t do well in school: dyslexia. His parents assumed he was lazy, which led him to rebel. “I taught myself a system that enabled me to get through my reading. I devour stacks of newspapers every day and read lots of clippings.” He undoubtedly learned to love newspapers at his mother’s knee. Erna van den Berg was a journalist with the Volkskrant for thirty years. Also paradoxical to Gilian’s dyslexia is the profession of his father Jurriaan, who was a famous graphic designer and visual artist, renowned for his typography and original typefaces. He created the typeface his son used on the delivery bicycle for his first business – Schrofer Delights. That same typeface is now proudly displayed on the cover of the Schrofer Academy brochure. “I consciously opted to use my family name: alongside their other work, my

141

father and grandfather always taught at art academies, as did many of my uncles. I teach even though I was never formally taught. I see it as a kind of mission.” Creativity and design are clearly in our genes, as his father explained in a letter to Gilian when he was only nine. “You, your grandfather and I are very much alike: stubborn. We never want to be dependent on anyone and are only happy when we’re making something. For your grandfather it’s colour, for you it’s things and for me it’s type setting.”

When the Stedelijk Museum reopens after a lengthy renovation, Schrofer’s design talent will be on display in the museum’s café and restaurant areas. In that same museum, he has set up many an exhibition, including ‘Rineke Dijkstra/Portraits’ and ‘Mapping the Studio’ (visual art). Curator Ingeborg de Roode noticed the meticulously elaborate scale models of his work, and was especially impressed that Gilian actually made them. “Really unique; even Gerrit Rietveld didn’t do that.” >

Interview > The temporary Stedelijk Museum CS dedicated an exhibition to his work, including a brochure, and his collection of models then travelled to Hong Kong and New York. Now his miniature structures are back at Concern, the design agency that Schrofer founded together with Cindy Bosma in 2005. “We focus on five areas: hospitality (café, restaurant sector), the care sector (which is progressing slowly), education (long-term projects), exhibitions (including Panl in Amsterdam’s Westergasfabriek) and creative work environments, such as the interior for Lost Boys and Total Identity’s new office. No ‘hardcore commercial assignments’, but we do accept projects that involve a lot of ‘care’ as reflected in our name ‘Concern’. We translate our clients’ requests into what the clients of our clients demand. Very little consideration is given to the users. I like to show a short film of a musician who enters a hospital and the only thing he sees are the fluorescent lights and suspended ceilings… because he’s lying on a stretcher! That certainly won’t help the healing process? Why does a three-star hotel room cost 150 euros a night and a hospital room 700? Surely not just because of the staff?” Gilian Schrofer is a major supporter of increasing the involvement of designers in change processes. He is sought after for a wide variety of assignments. He was asked, for instance, to help consult on the results of a study into the creative industry conducted by the Ministry of Education, Culture & Science. “I like to get involved. It helps me immediately see very simple things that can be done better and simpler. Thinking outside the box is second nature to me. That’s quite common among creative people, who can be put to work at a variety of levels, not just in their own field. It’s time we put creative people at the top of an organisation. I see myself as a corporate manager. These times offer such opportunities. Even the Tabaksblat (Dutch corporate governance) Code is already in need of adjustment. The number of women is another issue ripe for discussion. I like to work with women and was raised by a first-generation feminist. The crisis is

Gilian Schrover

I prefer the process over the end-product

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creating opportunities. The internet is making life freer yet more difficult, leading to a wave of democratisation. This is just the beginning. For example, I am currently sinking my teeth into a project for the digitisation of the municipality of Amsterdam, primarily in the area of new homes. This current period is bringing lots of changes. There may not be a lot of money, but there is some. I try to get people fired up about an idea. I want to open an office in New York and make headway with our expertise in hospitality. I’d like to make the move against all odds and every advice; at the depth of the crisis. They warn me that I’m dreaming, but I have to learn my own lessons.” At the age of twelve, Schrofer took his first side

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job in the kitchen at Frascati (theatrecafé). He liked it and, at eighteen, started his own patisserie business, ‘Schrofer Delights’. This was followed by a catering company ‘Beurs van Berlage Food & Beverage’. His father’s death in 1990 prompted a change in course. He became a successful spatial designer, inspired and assisted by Ronald Hooft of Seymore Likely and Peter Giele of Aorta and the Roxy. In 1997, he set up Concrete together with architects Erik van Dillen and Rob Wagemans. Well-known projects include Supperclub, Australian Homemade, Rituals and the Lairesse chemist’s shop. “Starting in 2004 I wanted to focus more on the ‘soft’ side of my profession. This included board memberships, design

exhibitions, photography and teaching at Academies. Academies are primarily geared towards ideas and are less accomplished at practical skills. That’s why we founded the Schrofer Academy and it also led to the creation of Concern. At both places, many young designers have the opportunity to learn skills in practice. Cooking, catering, building and designing: the connecting force in my work is transience. You spend hours on a beautiful meal that’s gone in ten minutes. The aim is independent work, but in fact the assignments are incredible. That process involves listening closely to what people want. I prefer the process over the end-product.”

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Christian Fielden

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Christian Fielden

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Christian Fielden

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Christian Fielden

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Joris Ten Bosch

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Jaap Vliegenthart

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Mark de Rouw

Martijn de Vries

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p 192 - 197

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Martin Dijkstra

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Katrien Franken

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reconsider

Interview

Edo Kars & Robin de Puy

Text by Gusta Winnubst Photo by Jens van der Velde

The beauty of contrast “You learn to be a photographer like you learn how to drive, by doing it.” True words from the experienced photographer Edo Kars. But, as is true for driving, some people are more gifted in photography than others. They learn quickly, like Robin de Puy, who just graduated from the photography academy and is already a pricewinner. The experienced photographer versus the novice. One day he’s photographing a Lamborghini on a stunning set, the next he’s at the fish market or shooting a poignant photo of a former leprosy patient in his studio. Edo Kars likes contrasts. “Distinctive locations and people inspire me. Light photography or dark. It keeps me sharp. The leprosy sufferer was telling me his story and a tear rolled down his cheek. Some people will probably think: ‘oh, Edo photoshopped that into the shot’.” In his portfolio the emphasis is on advertising photography. “I don’t want to be pigeonholed as someone who only does advertising or cars. But it is true that they generally pick me for advertising campaigns. I have a reputation of being able to take a nearly impossible idea and turn it into a

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beautiful photograph. I see the problems at an early stage and solve them quickly. Agencies often think that you can solve everything in postproduction , but that’s not true of course. Photographing a car is difficult, which is why the budgets are generally bigger. Some photographers turn their nose up at advertising, but it actually offers a lot of opportunities. Needless to say, you have to exercise caution these days; clients want the same result for less money. No matter how you look at it, that leads to a compromise in quality. So you have to come up with a different idea, which is precisely when you can do fascinating work using beautiful photography, a good layout and typography.” You won’t hear Kars complain about the crisis. He has a healthy

look and talks with clear enthusiasm about his work. “I just got back from seven months in Australia. Apparently my instincts are good when it comes to planning sabbaticals during slow periods. During the last crisis in 2001 I happened to be travelling for eight months. I was recharging my batteries and absorbing local culture. I’m a very curious person and need time to think things through. When I had just arrived in Australia I got a request to do a big assignment. One side of my brain said ‘do it’, because you don’t know what opportunities there will be when you get back. But I was relieved when it was cancelled. Right before the end of my trip, BBDO Istanbul asked me to shoot a beautiful campaign for Gillette. >

A crisis is a time for reflection: do what you’re good at and have the courage to make choices – edo kars 162 > A really nice opportunity, call it luck.” A lot of his work is for foreign clients, including in the US and France where he feels he did his best work for Gaz de France. “I have agents in various countries. That wasn’t inspired by the crisis. It takes a lot of patience to really make headway in a foreign country. And yet the Netherlands continues to be one of the most enjoyable places to work. People are open to ideas here. However, outside this country clients have more respect for your expertise. These days you notice that they become more chauvinistic when giving out assignments. It would be a good thing if that were the case here too.” “The crisis is a time of reflection for everyone. Do what you’re good at and have the courage to make choices. My time of reflection was during my trip this year. I never have time for back office matters. So the first thing I did when I got back was creating a new website and answer hundreds of emails. Many of the messages were from young photographers looking for work. I can only offer them one tip: you learn to be a photographer like you learn how to drive, by doing it. Get an assistant’s position working with a good photographer for a couple of years. Then take off into the wide world.”

Interview

Edo Kars & Robin de Puy

A shy girl carrying a camera raps on the windows in the Red Light Districts in Alkmaar, Utrecht and The Hague. She is hoping to convince the young prostitutes to pose for her. Not an easy task, but with a great deal of persistence she wins the trust of a girl who agrees to have her picture taken. Armed with the print, she returns and manages to persuade other prostitutes to pose too. Thanks to this series of portraits, Robin de Puy became the overall winner of “The Photo Academy Award 2009”.

De Puy immediately made a name for herself with this series, which was her final school project. Until just a couple of years ago, she was mainly doing what people expected of her, including completion of a secretarial training course. A year later, after enrolling at the Willem de Kooning Academy, she took a compact camera along on a trip to Africa. “I was so homesick I came back just nine days later. But during that week I discovered that I felt good when I was taking pictures and was really pleased with a portrait I had taken of a young boy. That was when I decided to go to the Fotoacademie (photography academy) in Rotterdam.”

“I wanted to know why I ended up on one side of the window while other girls my age ended up on the other side. Young prostitutes are enshrouded in negative stereotypes, but I wanted to show that they are also independent women who sometimes choose this profession to realise their dreams.” Jury chairman Hans Aarsman praises De Puy’s approach: “The best photographers are the ones you don’t see. They are imperceptibly present in their choice of subject and methodology. This requires a mysterious combination of discreetness and perseverance. At age 23, Robin de Puy has reached that level in her portraits of young hookers. It’s as if you’ve opened a door and they are standing before you. They’re looking at you, not the photographer.”

Now, six months after her final exams, she is trying to get her work exhibited and assignments are coming in slowly but surely. “You really have to work hard to promote your work, since art is not something people are eager to invest in during an economic crisis. But that’s the way it is for young photographers.” She is currently working on a project about bald women. To avoid the stigma of favouring pitiable subjects, she sought out women who consciously shaved their heads. The series of proud bald women is nearly finished and already just as beautiful as her other work. “When people drop their facades, it’s my golden moment. To me, it’s about honesty and trust. I give that to my models and generally I get the same in return. The technique or the camera I use are not important to me, but honesty is reflected in every image. Someone told me it was as if I was looking for myself in my photography. And that’s true. I want to give people a glimpse of my world.”

It may have been the first time she chose to do something she really wanted. “I loved the course because it makes you think a lot about yourself, about the choices you make and whether you stand behind those choices. I’ve learned to believe in my own work and to develop myself in that context.” De Puy returned to Africa, this time for four weeks, during which she photographed patients of an aids hospital. “I came back with a series of penetrating portraits; proving to myself that I could handle it.”

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Paul Rietveld

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Paul Rietveld

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Paul Rietveld

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Paul Rietveld

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Mark de Rouw

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Martin Dijkstra

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Martin Dijkstra

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Martin Dijkstra

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Martin Dijkstra

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Katrien Franken

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Adopted by dutch casting agency / ulla models

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Adopted by dutch casting agency / ulla models

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Katrien Franken

‘ The relationship between what I show and that what shows, shows all.’

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Robin de Puy

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Robin de Puy

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Robin de Puy

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Robin de Puy

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Robin de Puy

‘ When the mask comes off, that’s my moment.’

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Jaap Vliegenthart

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Jaap Vliegenthart

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Jaap Vliegenthart

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Jaap Vliegenthart

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Martijn de Vries

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Martijn de Vries

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Martijn de Vries

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Martijn de Vries

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RenĂŠ van der Hulst

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Simon Warmer

Bronze p 206 - 209 200 Eddo Hartmann

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Cecile Stephani

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RenĂŠ van der Hulst

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RenĂŠ van der Hulst

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Simon Warmer

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Simon Warmer

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Eddo Hartmann

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John van der Linden

Dimitri Hoewijk

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Petra van der Veer

Cornelie de Jong

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p 246 - 251

Adrian Woods

Liesbeth Westerlaken

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p 252 - 255

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Helen de Vries

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Christiaan Bruijn

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John van der Linden

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Petra van der Veer

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Adrian Woods

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Helen de vries

‘ the play of light and shadow often creates images with a sense of alienation.’

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Christiaan Bruijn

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Christiaan Bruijn

‘ Beauty is worth striving for.’

Interview

Monique Mulder

Text by Gusta Winnubst Photo by Jens van der Velde

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Monique Mulder is the ‘Mo’ of Mattmo, an interdisciplinary design agency for visual communication. Her curious and open-minded nature led Mulder to fly to China seven years ago looking for creative minds in a country on the move. Connecting creative talent is the key to the agency’s success. Both in the Netherlands and China.

Initially, the main strength of Mattmo, which Mulder founded in the early 1990s together with Matthijs Tammes, was in website design. “We were big in the internet industry when the dot.com bubble burst. Thankfully, we had already developed several other specialities. Innovative minds will take you a long way, including in times of crisis. We keep in touch with the market, so we don’t get overly stressed. Since the early days, we’ve become active in communication strategies, print,

interaction, motion and spatial. We are somewhere between a design and advertising agency. We take on every project with a neutral, open mind whether involving an annual report, a website, an exhibition, a film or the design for a climate-neutral village.” It was this same open-mindedness that led Mulder to spread her wings to China in 2003. The smaller the country, the bigger the outside world, she must have thought. She left with her creative partner Paul van Ravestein. >

Monique Mulder

Interview

Bridge builders between the Netherlands and China 242 > “We were sick to death of all the negative stories about China and reports that the creative sector should be worried about large-scale copycats. We were actually really curious about the creative minds in that huge country. Interdisciplinary thinking and experience sharing is in our blood. We were already giving lectures at Art & Design Academies and providing internships. We had therefore already learned to look at things from a broad perspective. And we like to break conventions. The creative industry may well be the most conservative in the Netherlands and is strongly influenced by the ‘design police’, which prescribe what is and isn’t acceptable. But our aim was to push the established boundaries. In Beijing, Shanghai and Hong Kong we talked with filmmakers, writers, architects, (fashion) designers and creative people within a broad cultural spectrum. We are open to other cultures, which has to do with respect and entrepreneurship. In China, we looked for and found high-level culture creators.” China opened up a new market with new perspectives. “We didn’t go there for the money. You set something up, which

then evolves. It’s easy to network and get involved in co-creations there. We work with a lot of partners in China. Anyone who looks beyond the border will find a world of opportunities. Here in the Netherlands we tend to think this country is the whole world. But there’s a huge contrast between China and Holland. In China you face different volumes and different problems. Everything develops extremely quickly: Shanghai is like a roller coaster. Every six months the city’s skyline get taller and there are new buildings around its periphery. The city is a colossal chaos and yet it has a structure. China can present dramatic hurdles or indeed tremendous prospects!” Mattmo clearly hasn’t tripped over the hurdles. “We will never become Chinese, but we’re getting there. The Chinese are open and intelligent, and have a sense of humour. And yes, all the clichés are true. But hey, you can buy clogs in Holland too! They are incredibly fast and able to put things in perspective. We, too, are doing that more now that we have one foot in China and the other in Europe. Every time we come back, we see the Netherlands more clearly. If you want to

innovate, get to know new people and explore new areas, it’s fantastic to look far beyond your own borders. Now it’s ‘Made in China’, but down the road it will be ‘Created in China’. The creative Chinese are in a process of self-discovery. They are reinterpreting their roots and thus shaping their new identity. I was living in Berlin when the wall fell and witnessed the same redefinition of the German identity. I find that inspiring.” In tough times, stories from explorers like Mulder are a blessing. “We do notice the crisis in our assignments, however. We’re getting the same volume of contracts, but they tend to be stripped to the essentials and less ‘catchy’. The trend moves in waves: now it’s about being sober and staid. Old Dutch customs. But if you’re versatile in what you can offer, you won’t suffer too much from the crisis. We have cross-media thinkers and specialists on staff: twenty in the centre of Amsterdam and five in China. We consciously choose balance, while we find it interesting to go a step beyond our usual boundaries. It’s incredibly inspiring when you’re working on a website for The Hague’s Gemeentemuseum

243 (municipal museum) while setting up an exhibition at the same time. We start by examining the DNA of an organisation and, based on that, we look at the idea. We do the same for all our clients, including cultural A-brands – from Rotterdam’s Boijmans van Beuningen museum to the NAI (architecture museum) and from World Press Photo to Panl. A few years ago we worked with Eugène Bay to come up with the strategy for Panl. The media plan followed: a book and an exposition aimed at putting Panl on the map.” Mulder reemphasises that money is not the priority. “We also develop plenty of initiatives of our own, including a project on culinary culture. The format of the Dutch television series Pluijm op pad (Pluijm on the go), in which René Pluijm seeks out local and regional culinary cultures in Europe, was conceived by Mattmo. We also have our Creative City Lab. This project brings together innovative forces from the creative industry, education and the business market with the aim of seeking sustainable solutions for urgent and complex social issues. We see design as a fundamental means of communication in this process.

The responsibility of design goes beyond simply economic interest; it also has a social and global impact. Now more than ever, creativity should start in the boardroom. It belongs in the early stages of the process. There should be a creative director at board level. Creativity is too often the icing on the cake, but companies must become aware of its economic value. It enriches the product, ensures that your brand is taken seriously. The political world has got the message: the creative sector has moved up from the Ministry of Education, Culture and Science to Economic Affairs. A positive development.”

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Cornelie de Jong

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Cornelie de Jong

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Cornelie de Jong

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Cornelie de Jong

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client volkskrant

Cornelie de Jong

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PANL /////

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FORMATIVE & INFORMATIVE

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Liesbeth Westerlaken

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Twan de Veer

Simone-Michelle de Blouw

Marcel Molle

Hans de Vries

Tara Fallaux

Lilian van Rooij

Jaap Vliegenthart

Marc Driessen

second round

All Other Entries

258

Jan van Breda

Paul Ruigrok

Alek Bruessing

Marieke van der Velden

Johannes van Camp

Frank Tielemans

Marcel Molle

Frank Tielemans

second round

All Other Entries

259

Philip Riches Avant Garde

Marc de Groot Glamour

Philip Riches Avant Garde

Petrovsky & Ramone Avant Garde

Fritz Kok AvantGarde

260

Philip Riches Avant Garde

Petrovsky & Ramone Avant Garde

Fritz Kok AvantGarde

Ruud Baan

Alek Bruessing

second round

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Eric van den Elsen JAN

Roger Neve JAN

Eric van den Elsen JAN

Erwin Olaf ELLE

Alique ELLE

Dirk Lambrechts James

Alique ELLE

second round

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261

Maarten Wouters

René van der Hulst

Thomas van Schaik

Ronald Tilleman

Daan Brand ELLE

Jose van Riele Elegance

Daan Brand ELLE

Jose van Riele Elegance

Malou van Breevoort

Denise Boomkens Nouveau

Jose van Riele Elegance

262

Maarten Wouters

Malou van Breevoort

Denise Boomkens Nouveau

second round

All Other Entries

Simon Warmer

Alek Bruessing

Bas van Spankeren

Tim Mintiens

RenĂŠ van der Hulst

Malou van Breevoort

Ronald Tilleman

Edo Kars

Malou van Breevoort

second round

All Other Entries

263

Gerrit Schreurs

Aatjan Renders

Arjan Benning

Niki Polman

Gerrit Schreurs

Judith Jockel

Fulco Smit Roeters

264

Aatjan Renders

Fulco Smit Roeters

Krijn van Noordwijk

Mark Janssen

second round

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Arjan Benning

Jan van Breda

Arjan Benning

Ernst Yperlaan

Jaap van den Beukel

Mark Horn

Oof Verschuren

Alek Bruessing

Jeroen Hofman

Paulien de Gaaij

Harald Lakerveld

Boudewijn Smit

second round

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265

Maayan Ben-Gal

Pim Leenen

Malou van Breevoort

Mark Groen

Frank Tielemans

Arjan Benning

266

Maarten Wouters

Anneke Hymmen

Arjan Benning

Tobias Reymond

Joost Berndes

Maarten Wouters

Suzanne Karsters

second round

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Linda Jansen

Lucia Ganieva

Boudewijn Smit

Marc van Oene

Linda Jansen

Jeroen Hofman

Joost Berndes

Eline van Schijndel

Jochem Wijnands

Natalie Biryuchenko

Joost Berndes

second round

All Other Entries

267

Deborah Roffel

Evert van Moort

Jaap Vliegenthart

Simon Warmer

Marion van Dam

Deborah Roffel

Maarten Wouters

Suzanne Karsters

Gneomar van Nispen

268

Jaap Vliegenthart

Erik van Gurp

Peter Hamelinck

Marc van Oene

second round

All Other Entries

Jonathan Mechanicus

Dorette Evers

Moon Jansen

Jonathan Mechanicus

Hans de Vries

Robin de Puy

Marco Kuis

Edwin J

Jochem Wijnands

second round

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269

Sonja de Ridder

Jeanne van der Laan

Suzanne Liem

Henri Blommers

Sonja de Ridder

Vivian Keulards

Paul Ruigrok

Vivian Keulards

Marc Kruse

Rutger van der Bent

270

Henri Blommers

Rutger van der Bent

Katrien Franken

Robin de Puy

Moon Jansen

second round

All Other Entries

Sapphire & Steel

Mart Boudestein

Hugo Keizer

Peter Arno Broer

Sapphire & Steel

Henri Blommers

Jochem Sanders

Avi Goodall

second round

All Other Entries

271

Lucia Ganieva

Boudewijn Smit

Sander van den Bosch

Ronald Tilleman

Jens van der Velde

Marc van Oene

Lucia Ganieva

Ivo de Kok

Nicole Franken

Lucia Ganieva

Ivo de Kok

272 Nicole Franken

Nicole Franken

Willeke Duijvekam

Hans Hogervorst

second round

All Other Entries

Homeira Rastegar

Arjan Benning

Mirjam Brinkhof

John Bakker

Homeira Rastegar

Marjolijn de Rijk

Sander Foederer

Ilja Keizer

Marc van Oene

Peter Hamelinck

Aafke Holwerda

Ilja Keizer

second round

All Other Entries

273

Robin de Puy

Ama Kaag

René van der Hulst

Jonathan Andrew

Manon van der Zwaal

Edo Kars

Lukas Göbel

Jonathan Mechanicus

Bob Eshuis

second round

All Other Entries

274

Polle Aubert

Caroline Welsing

Pim Vuik

Annelore van Herwijnen

Natalie Biryuchenko

Polle Aubert

Annelore van Herwijnen

Moon Jansen

Polle Aubert

Jochem Wijnands

Helena van den Enden

Marjon Hoogervorst

second round

All Other Entries

275

Martin Dijkstra

Eddo Hartmann

Jeroen Hofman

Paul van Hulzen

Aatjan Renders

Henri Blommers

Sonja de Ridder

Marc Kruse

Katrien Franken

second round

All Other Entries

276

Paul Struijk

Harald Lakerveld

Esther Kokmeijer

Hans Hogervorst

Mart Boudestein

Jorrit Folmer

Thomas van Schaik

Gerard Albertsboer

Hugo Keizer

Thomas van Schaik

second round

All Other Entries

277

René Gonkel

Marjolein van Veen

Lukas Göbel

Jan van Breda

René Gonkel

Sander Foederer

Peter Hamelinck

Mark de Rouw

Guy Offerman

Marc van Oene

Bill Tanaka

Paul Starink

Esther Kokmeijer

second round

All Other Entries

278

Josephine Gits

Miranda Vijfvinkel

Aleksander Willemse

Petra van der Veer

Josephine Gits

Jaap Vork

Hugo van der Flier

Ebo Fraterman

Jepke van Hengst

Hugo van der Flier

second round

All Other Entries

279

John van der Linden

Sofie van de Calseijde

Bodine Koopmans

Mirjam Schuurman-Lensink

Remco Muntz

Peter Tijhuis

Petra van der Veer

second round

All Other Entries

280

Bodine Koopmans

Dimitri van Hoewijk

Kirsten Wilmink

Bodine Koopmans

Margo Warmerdam

Carla Kogelman

Mirjam Schuurman-Lensink

Hester Dekker

Marjo Alberts

Carla Kogelman

second round

All Other Entries

281

second round

282

Kirsten Wilmink

All Other Entries

The Judges

text by Zack McDonald

THE TIME TRAVELLER’S GUIDE TO PANL #19 These are the facts and they are indisputable: On November 29, 2009 at approximately 9 AM, a group of seven individuals entered a warehouse space in the south of Amsterdam and travelled back in time. The exact locations and points in time the group travelled to are far too numerous to recount here, but it should be noted that the time travellers visited locations mostly inside Holland at points falling between January 2008 and August 2009. The average trip took between thirty seconds and three minutes. As of this writing the travellers are all in good health and good spirits, and, to the best of our knowledge, there have been no immediate negative consequences due to the travelling. Yes, it’s true. Time travel exists. Has for quite some time. Not precisely the H.G. Wells variety. But close enough.

In the classic novel, The Time Machine, Wells writes of a complex mechanical device designed to take people from the present to the past and back again. The great irony of this novel is that in writing about a fictional time machine, Wells himself created something that would indeed allow people to travel back to his day: Those who read The Time Machine can vividly experience the past through Wells’ allegory of class relations and labor dynamics. While simple in construction (paper and ink), the book, like all great works of art, transports us to another place. In other words: The Time Machine is a time machine.

> read further on page 286

283

The Judges

284

Personal Choices

The Judges

photo by Erik Smits

285

The Judges

continuation of page 284

The photographs submitted to PANL #19 are also time machines. Simple yet complex devices constructed by some of Holland’s most interesting and exciting mad scientists — photographers working in one of three broad categories: commissioned work, personal work and student work. Each photograph, whether raw and straightforward or slick and abstract, is designed with one primary function in mind —to give the viewer a transcendental experience, to transport them to a different time and place.

286

These time machines are built to show us the world we live in. Sometimes exactly as it is. Sometimes as it could be. Sometimes as a metaphor for human experience. Sometimes as a tool to keep the wheels of commerce turning. The people who make these machines have different perspectives and different styles. Some photographers seek to make themselves invisible, presenting an open and unambiguous snapshot in time of a person, place or thing. Some photographers bring a clear and recognizable vision to the work, creating stylized pieces that poke and play with reality and the way we look at it. Regardless of approach, ultimately, the photographers — the mad scientists who make these photographers — cannot predict what feelings, emotions or outcomes their work will illicit in others. They simply create the machines; it’s the time travellers who experience them. The PANL 2009 time travellers are as follows: Karen Heuter art director, Amsterdam (chairperson of the jury) Michael Biedowicz photo editor, Berlin Wendelien Daan photographer, Amsterdam Paul Graves photographer, Paris Maud Klarenbeek art buyer, Amsterdam John Offenbach photographer, London Siobhan Squire photographers representative, London Having spent the majority of their professional lives either creating their own time machines or inhabiting those of others, this group was uniquely qualified

text by Zack McDonald

to journey backwards into the weird and wonderful world of Dutch photography — a world broad enough to hold both the gritty and the slick, the hilarious and the somber, the professional and the amateur. The PANL 2009 competition was held in a large studio in the south of Amsterdam that resembled a warehouse. Hundreds of photos filled the space — rows and rows of images grouped into their respective categories. In a slightly smaller side room sat a slightly smaller body of student work. In total, this massive collection was whittled down from a much larger collection of digital entries submitted to PANL. Both the judges and PANL members voted online, for the pieces they felt belonged in the show. On the day of competition, the voting took place in three rounds.

First round: The seven time travellers took a series of very quick trips, embodying each time machine for just long enough to see if the destination was a worthy one. If three or more of the judges agreed, then a photograph moved forward to the next round. If not, the door of the time machine was closed. Most likely forever. The selection process was relatively easy for the travellers. They moved through the photos with speed and efficiency, constantly spotting and zeroing in on the ephemeral qualities that separated the good from the rest. Apart from the style and technique of each photo, the real test of worthiness was where they transported the travellers. And how that destination made them feel. Each trip gave our travellers a window into another time and place. Time travel is disorienting. So, often, at first, it took a moment for the judges to find their bearings and understand the context of where they were and why. Sometimes they found themselves in wondrous places — places they would feel comfortable kicking their shoes off in and staying a while. A blurred bus filled with interesting people on their way to God knows where. A bare desert filled only with a blonde beauty in mudface. A cartoon world inhabited by a curious pack of tree-leaping reptiles. Other times they found themselves in destinations that were not so inviting, but neverthe-

The Judges

less intriguing. A flower-covered corpse resting peacefully under an illuminated exit sign. A creepily empty, recession-ravaged tropical resort. A final resting place for well-preserved wild animals.

Second round: The stakes became higher and the trips became longer. Before this round, the judges were told that every photo selected would make it into the PANL 2009 book. To make it in, five of the seven travellers had to agree that it deserved a spot. This new requirement sparked a number of debates among the judges — causing the travellers to defend their choices with more explanation and a greater intensity. Questions arose regarding the nature of time travel: Is a particular destination worthy of celebration, even when we’ve already been there before? Are the aesthetics and craftsmanship of the time machine as important as the feelings that the ultimate destination evokes? Where the hell have we landed this time? This round found our travellers taking extended trips to destinations near and far — a grim but beautiful Amsterdam hostel, a brightly colored boarding school, the dusty streets of the American West. Between trips, the judges were bolstered by the two essential ingredients for successful travelling: lots of coffee and the occasional banana. By the end of the round, our travellers had in essence compiled this year’s PANL book. The next task was to examine the power of the time machines, pulling aside the most interesting and provocative ones for special recognition.

Third round: The flip side of travelling into the past is getting a glimpse into the future. After gliding back in time — through brothels, sidewalks filled with disgustingly delectable food and bright white retro space capsules — our travellers ultimately decided that the most worthy trip of all was one that took them into the future. In the third and final round, the travellers award the best of the best PANL submissions with gold, silver and bronze prizes. While there were several photographs that made it into the silver and bronze categories, there

text by Zack McDonald

was but one series that made it into the coveted gold spot. This series — featuring abstract, otherworldly images of stark black characters set against clean white backgrounds — is futuristic in both its look and its intent. The judges agreed that this series possessed a quality missing from the other work, a bright and shiny newness that immediately sparks a stream of ideas and possibilities. A rare characteristic that must be celebrated when stumbled upon. In addition to receiving the only gold medal, the series was awarded the coveted PANL Award. In the end, our travellers felt the exhaustion of bouncing around the space-time continuum. They stood together and looked out over the vessels that took them both out into the world and deep within themselves. As life-long time travellers, they couldn’t have asked for more from the PANL judging experience. After all, the purpose and goal of time travel is simple: We all want to go some place we’ve never been. We all want to see the world differently. We all want to be surprised. These are the facts and they are indisputable.

287

The Judges

288

Personal Choices

The Judges

– “They have a very mysterious and unique feeling to them. Reminded me, in a great way, of the artist John Hartfield’s work.”

Personal Choices

– “A Disneyland Recession. It’s perfect. We should make it the cover of the book.”

michael biedowicz

karen heuter

– “They just called out. I loved them from the moment I saw them. In my opinion, head and shoulders above anything else in the competition.”

maud klarenbeek

john offenbach

– “This is my favorite image, because it captures the hesitancy and uncertainty which refers to the existential loneliness of adolescents.

289 paul graves – “I think it’s beautiful. And I knew nobody else would pick it… Oh, wait, Wendelien, you picked it, too???”

– “I picked it because I can imagine a great story to go with it.”

wendelien daan

paul graves – “than i choose another one.... For me the image captures a classic dark childhood innocence’s that every fairy tale hopes to have. Dark and innocence in one image. Hard to do well. Hard to do at all.

– “It’s graphically perfect work. Energy and static combined in a perfect way.”

siobhan squire

290

The Nominees

All Categories

Arjan Benning RenĂŠ Bosch Joris Ten Bosch Alexandra Brand Jan van Breda Mirjam Brinkhof Christiaan Bruijn CODE, Bianca Pilet Martin Dijkstra Willeke Duijvekam Christian Fielden Katrien Franken Giuliyani Glamour, Petrovsky & Ramone Eddo Hartmann Erik Hijweege Dimitri van Hoewijk Jeroen Hofman RenĂŠ van der Hulst Linda Jansen Judith Jockel

Cornelie de Jong Lisa Kortenhorst John van der Linden Robin de Puy Paul Rietveld Mark de Rouw Jochem Sanders Cecile Stephani Frank Tielemans Ronald Tilleman Petra van der Veer Marieke van der Velden Oof Verschuren Jaap Vliegenthart Martijn de Vries Helen de Vries Pim Vuik Simon Warmer Liesbeth Westerlaken Adrian Woods Maarten Wouters

291

Members

292

Kees Ab Kees van den Akker Charlotte Akkermans Marjo Alberts Gerard Albertsboer Alique Peter van Alphen Stefan Ammerlaan Jonathan Andrew Laurens Arenas Frits van den Assem Polle Aubert Fleur Baan Aline Baggio John Bakker Simone Bär Robbert Beck Maayan Ben-Gal Arjan Benning Rutger van der Bent Ivo van der Bent Marianne Berkhoff Joost Berndes Jaap van den Beukel Merel van Beukering Karen Birnholz Natalia Biryuchenko Sylvia Blok Marc Blommaert Henri Blommers Simone-Michelle de Blouw Dirk-Jan Bode Marlon van Boerdonk Eveline van den Bogaert Denise Boomkens Vincent Boon Patricia Börger Paul F.I. Born Roelof Bos Mijke Bos René Bosch Joris Ten Bosch Sander van den Bosch Eddy Bosland Arno Bosma Jaqueline Bosman Morad Bouchakour Mart Boudestein Alexandra Brand Frank Brandwijk Jan van Breda Malou van Breevoort Mirjam Brinkhof James Brodribb Peter Arno Broer Alek Bruessing Kevin van der Brug

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Joost van Brug Christiaan Bruijn Patrick de Bruin Manita Brunekreef Marco Buddingh Stefani Buijsman Erik Buis Renda van der Burg Bart van Bussel Marjolein Busstra Robbert Buys Sofie van de Calseijde Johannes van Camp Stefana Caramanica Marcel Christ Dominique Colen Wendelien Daan Tjitte van Dalen Yvonne van Dalen Marion van Dam Annelies Damen Karolien Damstra Peter Day Patrick DeBas Machteld Dekens Hester Dekker Aleid Denier van der Gon Jacqueline Dersjant Joep Deumes Martin Dijkstra Wilmar Dik Wim Dingemans Sylvia Doeleman Bart Domhof René Dommisse Monique Doornbos-Lubbers Pauline Dorhout Ellen Dosse Arthur Dries Marc Driessen Annemarieke van Drimmelen Maarten van Druten Willeke Duijvekam Lennard Duijvestijn Alewijn Eijgenraam Jurriaan Eindhoven Monique Eller Helena van den Enden Heike Engel Bob Eshuis Dorette Evers Lena Faiman Tara Fallaux Thomas Fasting Lesley Feher Christian Fielden Hugo van der Flier

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Members Sander Foederer Hans Peter Föllmi Jorrit Folmer Katrien Franken Nicole Franken Ebo Fraterman Paulien de Gaaij Lucia Ganieva Nico Garstman Madison Gerritsen Herman van Gestel Maurits Giesen Josephine Gits Giuliyani René Glas Lukas Göbel Victor M. Gomes Pinto René Gonkel Avi Goodall Mark de Graaf Esther Groen Mark Groen Willem Groeneveld Mark Groeneveld Maarten de Groot Marijke de Gruyter Hans Guldemond Erik van Gurp Frank van Haalen Arjen Haantjes Arjaan Hamel Peter Hamelinck Reza Harek Robert Hart Eddo Hartmann Durk Hattink Tom van Heel Maurice Heesen Maria Heijdendeal Jan Jaap Heine Francois Hendrickx Tom Hendriks Jepke van Hengst Annelore van Herwijnen Erik Hijweege Marco Hillen Dimitri van Hoewijk Kasper van ‘t Hoff Jeroen Hofman Marlies Hofstede Hans Hogervorst Jan Holtslag Aafke Holwerda Marjon Hoogervorst Natalie Hoogmoed Mark Horn Suzanne Huisman

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René van der Hulst Paul van Hulzen Caren Huygelen Anneke Hymmen Edwin J Timon Jacob Wouter Jansen Moon Jansen Linda Jansen John Janssen Mark Janssen Robin Jasperse Annabel Jeuring Judith Jockel Cornelie de Jong Ama Kaag Roy Kahmann Edo Kars Suzanne Karsters Petra Kasteleijn Ilja Keizer Hugo Keizer Roos Kemme Ilco Kemmere Marcel Kentin Harrie van Kessel Dolph Kessler Vivian Keulards Jansje Klazinga Henk Kloosterhuis Paulien Kluver Sofie Knijff Saskia Koen Frans Koene & Herman Heuvink Carla Kogelman Ivo de Kok Esther Kokmeijer John de Koning Steven van Kooijk Bodine Koopmans Bastiaan Koot Astrid Koppers Marc van der Kort Lisa Kortenhorst Feiko Koster Jos Kottmann Peter Koudstaal Zoran Kovacevic Denis Koval Remko Kraaijeveld René Kramers Diederik Kratz Brigitte Kroone Vincent Kruijt Frank van der Kruk Marc Kruse Cees de Kuijer

013-5435372 06-53308951 06-53316501 06-47138568 06-27110051 023-5849231 06-46276601 030-2523206 06-52036201 020-6842771 06-54765253 06-21825617 06-18682181 010-4150054 06-53801834 06-28787960 06-51016547 074-2506634 06-14983204 020-6844414 06-53779585 06-38909680 020-6682443 06-51473631 020-5158585 06-20629658 020-6391222 06-54310610 020-4205575 06-52074332 0114-362277 06-14657311 020-7701383 06-28455092 020-6115627 06-12640910 020-6837494 06-47452939 070-3563361 06-25023481 020-7774590 06-24190055 058-2154107 06-51082598 071-5128878 06-20553940 06-51987218 06-53230103 0345-611288 06-24258288 020-6651763 06-24597056 06-24601104 020-6732247 06-53857357 033-4652660 06-53395900 06-24546605 06-41812828 020-6404782 06-53918190 033-4650731 06-50830570 06-11197561 020-8401181 06-53645796 071-5125799 06-14433569 06-41902609 06-15219965 035-6941071 06-53293000 06-14240733 070-3317129 06-20434469 06-48104284 06-43082983 06-47055065 020-6145259 06-52644299 06-55707373 020-7079371 06-55891125 020-6002769 06-54315665 0348-554943 06-50632377 06-53147157 06-15464664

293

Members

294

Marco Kuis Frans Kuypers Jeanne van der Laar Harald Lakerveld Mireille Lampe Roel van Lanen Patrycja Lassocinska Jeffrey Lausberg Pim Leenen Arie de Leeuw Tjitske van Leeuwen Stephan Lesger Dirk van Liebergen Suzanne Liem Boudewijn van Lierop John van der Linden Gerdjan van der Lugt Claudia van Luijk Jan Luijk Janneke Luursema Kim Mandemaker Rob Marinissen Ilya van Marle Arthur Mebius Jonathan Mechanicus Ilja Meefout Maxim Meekes Wimer Meijer Willem Mes René Mesman Michiel Meys Marco van Middelkoop Pim Milo Tim Mintiens Lucas Mol Laetitia Molenaar Marcel Molle Ferenc Molnár Evert van Moort Jelle Mulder Rutger Mullemeister Dennis Münninghoff Remco Muntz Boudewijn Neuteboom Victor Neyndorff Dik Nicolai Ada Nieuwendijk Bart Nieuwenhuijs Gneomar van Nispen Quintalle Nix Krijn van Noordwijk Adrian Noortman Marc van Oene Guy Offerman Xander van Ommen Martijn van Oorschot Annabel Oosteweeghel

0592-409501 06-51422289 0481-488388 0492-324834 06-22541925 0348-481448 06-55177007 020-4203296 06-29053545 06-14437511 06-41820743 06-28193186 06-14364879 06 24656952 020-3203193 06-20251581 020-3301113 06-50646821 023-5325522 06-53706390 079-3510490 06-22999679 06-24501185 06-19808235 020-6388119 06-53650599 020-4285611 06-42814065 010-425466 06-51646547 020-4860160 06-40468064 0570-652922 06-11078043 020-4212230 06-53634294 070-3623801 06-26358146 020-6832565 06-55885812 06-10153409 06-16410117 020-6254378 06-54347304 050-8503638 06-48178897 030-2145599 06-15084928 06-24593946 06-54201869 020-6484925 06-51407229 020-6200935 06-45466335 06-16466630 020-5721721 06-20005599 020-6243364 06-12858869 06-54715462 070-3456978 06-24996037 06-23897660 020-4276807 06-51223025 010-4225674 0416-560870 06-55154988 06-46345383 075-6420607 06-20891823 06-53967411 06-27157383 020-7744987 06-46140947 020-6640727 06-53231278 06-55544236 020-6754590 06-54780809 0313-422188 06-13784603 020-6208217 06-54748441 06-18751607 06-55820620 020-4637493 020-3204048 06-24580256

Marie-Therese van Ouwel Ivor Paanakker Marquis Palmer Edith Paol Bram Pauwels Robert Peek Jeronimus van Pelt Wies Peters Karlijn Philipsen Petra Pijlgroms Philip Ploegmakers Niki Polman Michiel Poodt Herman Poppelaars Paul Posse Marnix Postma Inga Powilleit Manon Pulles Robin de Puy Martin Pyper Claudette van de Rakt Homeira Rastegar Tehrani Torben Raun Aatjan Renders Tobias Reymond Patricia Ribas Sonja de Ridder Paul de Ridder José van Riele Paul Rietveld Marjolein de Rijk Joep Rijk Kees Rijken Cees Rijnen Ed van Rijswijk Suzan van de Roemer Berry Roest Deborah Roffel Peter Rokven Lilian van Rooij Christine van Rooijen Bert Rorije Mark de Rouw Natalie Roux Paul Ruigrok Eric W.T. Ruys Jochem Sanders Janita Sassen Katja Schade Thomas van Schaik Nico van Scherpenzeel Eline van Schijndel Cindy Schimmel Arjen Schmitz Machteld Schoep Katinka Schreuder Gerrit Schreurs

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Members Danielle Schuiten Arjan Schuitman Gerrit Schurer Mirjam Schuurman-Lensink Oscar Seijkens Martin Sharrott Ruud Sies Patrick Sijben Fred van ‘t Slot Vonne Slump Boudewijn Smit Miranda Smit Fulco Smit Roeters Erik Smits Mariëtte van Soesbergen Iris Spaink Bas van Spankeren Ron Stam Paul Starink Ron Steemers Jan Kees Steenman Maarten Steffens Cecile Stephani Sander Stoepker Manja Stroomer Paul Struijk Angeline Swinkels Tjay Tan Bill Tanaka Joanne Taylor Jaap Teding van Berkhout Ivar Teunissen Guido Thie Margret Tielemans Frank Tielemans Peter Tijhuis Ronald Tilleman Klaas-Jan Timmerman Oscar Timmers Chris van Tongeren Robert van Tongeren Thomas Tukker Roland van Tulder Iris Uffen Karin van Mierlo Marjolein van Veen Lutske Veenstra Twan de Veer Lennert van der Veer Petra van der Veer Jens van der Velde Marieke van der Velden Bianca Verhoef Oof Verschuren Eddie Vervloet Carlfried Verwaayen Miranda Vijfvinkel

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Heleen Vink Johan Visschedijk Ruth Visser Jaap Vliegenthart Derek Vonk Han van Vonno Jaap Vork Hans van de Vorst Martijn de Vries Hans de Vries (Amsterdam) Hans de Vries (Rotterdam) Paul de Vries Helen de Vries Mark van Vugt Pim Vuik Robert van Waarden Franki Waldron Simon Warmer Margo Warmerdam Piet Weber Caroline Welsing Paul Wennekendonk Taco van der Werf Liesbeth Westerlaken Gonny Wiermans Jochem Wijnands Flore Zoé van de Wijngaart Don Wijns Audrey Willems Aleksander Willemse Kirsten Wilmink Heidi de Wit Robbert-Jan de Witte Jarg Woldhuis Alice Wolfs Sietse Wolters Mike Wongsowinangoen Martin Woods Adrian Woods Lynn van Woudenbergh Maarten Wouters Yani Ernst Yperlaan Kin Yuen Hans Zeegers Renée Zindler Manon van der Zwaal Jan Zwart Nienke de Zwart Jasper Zwartjes Geek Zwetsloot Rob Zwinkels

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Credits

Documentary Commissioned Page Photographer Client Location Thanks to

022 - 026 Frank Tielemans Kumudini Welfare Trust Mirzapur Kumudini, Marielle

Page Photographer Agency Client Location Thanks to

014 - 015 Marieke van der Velden hazazaH Unicef the Netherlands Zambia Emelda

Page Photographer Client

016 - 020 Jan van Breda Parool

Fashion Commissioned

296 Page Photographer Client Make up Model

052 - 056 Lisa Kortenhorst Catta Donkersloot Mascha Meijer, House of Orange, Sabrina Lefevbre, Toni & Guy Sophie Deahl van MTA models

Page Photographer Agency Fashion editor Client Styling Make up Location Modelmaker Model

038 - 045 Petrovsky & Ramone Eric Elebaas Jetteke van Lexmond Glamour Holland Jetteke van Lexmond Fedde Hoekstra Marrakech Paparazzi model agency Dewi Driegen

Page Photographer Agency Client Styling Make up Casting Special thanks to

046 - 050 Bianca Pilet Chantall TV CODE magazine Kanako B Koga Yacine Diallo c/o B Agency Martin Franck street casting Gaspard Yurkievich, Guido Voss

Interior & Exterior Commissioned Page Photographer

068 - 071 Eddo Hartmann

Agency Rijksakademie van beeldende kunsten Amsterdam Client Bradley Pitts Location Star City Moscow Thanks to Gagarin Cosmonauts Training Center Page Photographer Agency Client Styling

074 - 075 Oof Verschuren Creneau International Arte Walldecoration Charlotte Emmerich

Page Photographer Client Location

072 - 073 Ronald Tilleman Strukton Nieuwbouw IBG,Groningen

People Commissioned Page Photographer Client Location

098 - 100 Judith Jockel Volkskrant Magazine Amsterdam

Page Photographer Client Location Thanks to

088 - 089 Jochem Sanders Vrij Nederland New York, USA Halina Reijn

Page Photographer Client Make up Location

092 - 093 Jeroen Hofman Comedy Central Barbara Rothuizen Maaskantje

Page Photographer Client Model

097 Willeke Duijvekam Stichting Borstbeeld Kim Hulleman

Page Photographer Model Client Thanks to

090 - 091 Mirjam Brinkhof Joris en Nina Familie de Baas Andre Beuving

Page Photographer Client

082 - 087 Giuliyani Nederlands Dans Theater

Page Photographer Client

094 Jan van Breda Parool, NRC

Credits

Commissioned Still life page Photographer Design Client Styling Location

112 Réne van der Hulst studio Studio Boot Design Academy Petra Janssen De Ploeg, Bergeijk

page Photographer Agency Client Location

115 Erik Hijweege Alfred International Vapona Studio

page Photographer Agency Client Location Thanks to

116 - 119 Maarten Wouters Getty Images, London Getty Images, London Oss Robbert Beenen

page Photographer Client

120-121 Alexandra Brand Elle

Objects Personal Page Photographer Styling Location Thanks to

130 - 131 Arjan Benning Judith Rasenberg Studio Het Rijk van de Keizer & InaMatt

Page Photographer Styling

144 - 147 Christian Fielden Foodstyling; Oliver Knight

Page Photographer Thanks to

132 - 133 Linda Jansen www.paulroberts.nl

People Personal Page Photographer Location Model

174 - 179 Katrien Franken Studio Katrien Franken, Arts & Craft, Damrak 70 Amsterdam Nadja, Tom, Sabine, Arnoud, Byron.

Page Photographer Location

170 - 173 Martin Dijkstra Beijing – China

Page Photographer Make up Model

158 Oof Verschuren Liselotte, House of Orange Juicy, FutureFaces

Page Photographer Location

168 - 169 Mark de Rouw St. Petersburg

Places Personal Page Photographer Location

204 - 205 René van der Hulst Sainte Nathalene, France

Page Photographer Thanks to

206 - 209 Simon Warmer Magic

Page Photographer Location Thanks to

210 - 213 Eddo Hartmann Nevada VS J. Robert Oppenheimer

Student work Page Photographer Client Location Thanks to

246 - 251 Cornelie de Jong de Volkskrant Nedoil factory, Yele, Sierra Leone Lion Heart Foundation

Page Photographer Thanks to

232 - 237 Helen de Vries Sjack de Vries

Page Photographer Thanks to

228 - 231 Adrian Woods Joost Haas, Marc de Leeuw

Page Photographer Location

252 - 255 Liesbeth Westerlaken De Meervaart, Amsterdam

Page Photographer Styling Make up Location Model

244 - 245 Dimitri van Hoewijk Judith de Rond, Melek Oksuz Agnieszka Chomiuk, Elise Bregard Amsterdam Saskia, MIC & Avalon, Ragazza

297