NAU NUA APRIL 2011 EDITION ENGLISH by NAU NUA ART MAGAZINE

april 2011

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SUMMARY

FRONT COVER MLLE EWA. Poupées burlesques

HOM SCHNEEWEISS & ROSENROT. PRETTY FRANK Feel the energy 1

NAU AGNES OBEL. PHILHARMONICS Back light

CHRISTELLE HODENCQ. COMME DANS UN RÊVE Collages in dance

LORI WATSON & RULE OF THREE. PLEASURE‘S COIN Better times

LE MASK. RESPIRA / IDENTITAT New airs

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SUMMARY LES AUS. ELECTRIC WAR Extirpated poems

PETE ROBBINS. siLENT Z Syncopated silence 2

NUA TOM ZÉ Um oh e um ah

ENVERS LJILJANA PETKOVIC. HINTER DEM SPIEGEL Green windows

GEOFFROY DEMARQUET Dim time

MLLE EWA The passion of the past

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SUMMARY LITTLE SWEET THINGS Winter sun

ESBÓS

3 ANA PAULA SELTZER Después de haber nacido

GEOFFROY DEMARQUET Photographies

MLLE EWA Poupées burlesques

CHRISTELLE HODENCQ Comme dans un rêve

LE MASK Identitat

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SUMMARY LITTLE SWEET THINGS Shooting lights

4 BORN CLARA ENGEL Throw a fish

NAU NUA April 2011 Edition number 6 Published by NAU NUA ART MAGAZINE DL B-42.495-2010 ISSN 2014-0002

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SCHNEEWEISS & ROSENROT Feel the energy 5

The sun sets and after the last notes from a filthy piano in the echo of memory, I start listening to a music that discovers new places in my evening activities. Schneeweiss & Rosenrot have created Pretty Frank (Yellowbird Records, 2011) as a syncopated mosaic of evocative tones and words full of a lyricism born of voracious musical fits. In each of them doors, the rhythms are wildly exciting, walking from impulse to a melodic calm with an unusual accuracy. Life is like them, a syncope always on the edge of the abyss.

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It is an international band whose members come from Germany, Sweden, Luxembourg and Switzerland. They all are young musicians with a great jazz knowledge, taking it to new sonorous lands as well as avant-garde and pop. Widely experienced on stage, their many facets are surprisingly combined in their text and music compositions. Their music goes beyond the typical structure of a popular song touching a vaudeville style. Their theatrical air can be captured on the cover of the album, making clear that their creations are never ended because their live performance is always a kind of rebirth. Improvisation captures the heartbeat of the moment.

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Lucia Cadotsch plays with her passionate voice converting each word in a starting point for something new and the audience becomes seduced by her immediately. Johanna Borchert has on her hands the expression of a beauty emerged from the heart while she improvises notes as well as a rain in an eternal dance with the wind. From her piano, we get her self-portrait, so passionate always in a vital red. Petter Eldh is the beat itself. His bass surrounds us by a creative nerve while Marc Lohr creates virtuosos rhythms on drums. Songs like Pretty Frank, the playful Ping Pong Love, the more melancholy Daddy Longleg, the disturbing Newmanâ&#x20AC;&#x2122;s Housecat, the cloudy Coast Starlight Express or the fascinating Splendit 33, make of Schneeweiss & Rosenrot a unique place in music, really innovative, like an open window to lean out knowing that nothing will be the same again.

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Pretty Frank, pray for this itty-bitty play that drives you potty, it got too knotty... And the notes from the piano go through your mind to never leave you again. Daddy longleg, he feels ever young, reaches out per a nous meet, strange love to feet ... They discover the time paradoxes to undress them and put them in front us like a mirror. Pink em down, oh boy, want you to be my waterboy ... Life appears like a water fluid, a return water in our relationships in which love goes away and when it will return wonâ&#x20AC;&#x2122;t be the same. American trains with big seats, slow speeds ... The never ending trip of creativity, the vital impulse that makes the time become an experience always relative, strongly linked to the subjectivity.

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And the rhythms pulls you along the tunes, they conceive new landscapes and portrait questions in a cubist style. The past Salt crusted dreams (Calibrated Music 2009), have grown and they have no other vision on the horizon that the one from their own creative pulse. Schneeweiss & Rosenrot are artisticly delicious and unconfortable because of their risky compositions and their permanent research always open to improvisation.

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AGNES OBEL Back light 11

Agnes Obel's music came into my life thanks to one of my visits to Belgium. The life experiences may be reflected in our souls loaded with little details that make them even more intense, and the debut album of Agnes Obel, Philharmonics (PIAS, 2010), came to me like rain after an extremely hot day. The next morning, the air was fresh, new, free of charge despite their gloomy compositions, at times against the light, but always beautiful, extremely beautiful.

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Agnes Obel was born in Denmark but she has developed much of her career in Berlin. She released a first EP Riverside which served as a prelude to her first album in which she showed her poetry in the shade as a place to appreciate the light in its true dimension. She began playing the piano as a kid and soon developed a huge talent for songwriting. Philharmonics is mostly developed at piano leaving to her beautiful voice the main role of her melodies emerged from a kind of water world and the moments where light rides in no-man’s land, where the sunrise and the sunset live, always more substantial in time in northern latitudes. From the piano starting of Falling, Catching and a wonder of Celtic airs Riverside, used as an advance of the album, her vocal warmth contrasts with the cold landscapes that she describes. She’s melancholy in Brother Sparrow and profoundly shocking in Just so, the faraway look that she shows us on the album’s cover is removed for each note found on her music. She is sublime in Beast, curiously, the most hopeful of her tunes, in a bright clean sound. "Let's go tonight, to let the beast run wild with the dogs and the cattle, let's go. I know you said it's like a heel to the head, or a girl in your bed and in your arms. For the butter on your bread, for the dying and the dead, turning cheeks for your network, let's go”. To let go is here a way of hope for a life full of absurd obscurities. Passion is a door. When it is closed is our death but open fills our veins of the beat of life. Then, a waltz sounds. It’s the title track, Philharmonics, and you wish to dance with the night until the morning light leaves us completely naked and alone in front the world alone because at night "now we are free". And I’m finally on my own Over the hill seeing the sunset while I feel the poetry of her songs. “Over the hill I will be waiting for you I won't pretend that you don't mean nothing to me. Come now, come now, come back now, come back now. The doubt will creep and crawl in on you. The dark can leap and fall upon you. Come back now, come back now. Let it be, let it go, let it fall, let it blow. Let it come, let it go, let it fall, we will know”. And time curves in my ignorance. Text by Juan Carlos Romero. Photo 1 by Frank Eidel, photo 2 courtesy of PIAS, photo 3 courtesy of Hiboo, photo 4 by Sofie Amelie Klougart. All rights reserved

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CHRISTELLE HODENCQ Collages in dance 14

Comme dans un rêve, Christelle Hodencq’ soul dances us her creativity in any aspect of life. Formed in the world of theater and dance, she is the creator of the États de danse company based in Paris, as well as an entire artistic imagery captured through various projects ranging from theater performance to recital and from collage to poetry. In her poem La petite histoire, she choreographs the dilemma of existence writing “De la femme plurielle à la femme singulière, voyage de l'inconscient dans la main et les pieds qui dansent... L'âme”. And her personal journey is entirely open for a continued exploration as an eternal collage as a way of life for collecting experiences, feelings, ideas and desires to merge them into her personal dance.

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Her exhibition Comme dans un rêve connects easily with a dreamlike air from the beginning. Indeed, the first piece, La vieille âme, shows the soul of life as a constant ray emerged from the dream itself, and the old soul appears suddenly full of energy. Amour etc goes into love relationships and their usual consequences after forming a family. In its first term, Christelle shows a man far-off the family's future while the woman gives birth and protects children wrapped in gray. Vu is colorful and focuses on our view of the world and in the eyes of those who are our look’s objects being observed and observers at a time. La femme gâteau confronts us with young women as sex objects while female age is set aside. Passage of time is presented here as terrible and unavoidable prison for women. Gangsters of love is mainly in red on black combined with texts like Maudits mots dits, Petits trop mineurs or the same Gangsters of love, desire and the darker side of human beings, deception, intermingles turning a past brilliance into wounds.

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Viens avec moi is colorful, lively and full of small details in which stop and succumb to temptation. Les fruits de la femme makes breast go red and burns our eyes looking for the origin of life. La promesse has a critical load on the values of the revolution with the sentence liberté, égalité et fraternité broken because in the case of women has never come into compliance. Christelle Hodencq plays with the other’s point of views in order to recreate them and give them her own vital breath, the breath of an actress and dancer who goes into artistic creation with a strong personality and a passion that shakes our comfortable apathy. Beautiful. Text by Juan Carlos Romero Collages by Christelle Hodencq. © Christelle Hodencq Photo 1 by Laurent Demartini. © Laurent Demartini Photos 2 and 3 by Christian Demare. © Christian Demare

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LORI WATSON & RULE OF THREE Better times 18

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Ne’er ask the hour what is it tae us, how time deals out his treasures? The golden moments lent tae us, they’re no Time’s coin they’re Pleasure’s. Then fill the cup what is it tae us, how Time his circle measures? Tae count aa the hours it is sic a fuss, obey no wand but Pleasure’s. The beautiful voice of Lori Watson sings the traditional song Pleasure caressing our souls to shudder. So open Lori Watson and Rule of Three their latest album Pleasure's coin (Isle Music Scotland, 2009), a work full of beauty that not only brings back the intensity of life, but also the richness of traditional culture as musically exciting as Scottish culture is. Their melodies embrace our souls. The treasures that this album keeps are as many as those that the voice and the arrangements of Lori Watson and Rule of Three show. Part of their repertoire are traditional songs, but their lively interpretation which gives their music a highly seductive own personality. And the same goes for their songs. The arrangements are subtle, elegant and full of love of tradition and modernity, without seeing the border between them because the vital fact is the only reality within us and, perhaps, the past songs live more intensely that fact than the current ones, more interested in further accumulation and great shows leaving behind intensity and the existential evolution.

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If one does not stop living the sunset and then stay silent in the darkness to enjoy new life experiences, is far from the enjoyment of Pleasure's coin. So, I stretched on the grass and listen to the music of Lori Watson and Rule of Three as the pleasure it is, letting the beautiful voice of Lori makes me feel every hole in my soul and be aware of their existence. Time doesnâ&#x20AC;&#x2122;t go by but our souls flee from it. Pleasure, Plooman, Floor, Poppies and Friendship are perfect examples of how beauty has no time and no place beyond our minds which need places to shelter from the current grey times. If you listen to their stories they will reconcile you with your inner world. Itâ&#x20AC;&#x2122;s great pleasure.

Text by Juan Carlos Romero Photos courtesy of Lori Watson

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LE MASK New airs 23

“Somos Le Mask un pequeño grupo de arte especializado en la fotografía pero también en la ilustración, el cine y la pintura. Desde la infancia nos gustó hablar poco y observar mucho. Nos gustaría pensar que en nuestro trabajo existe algún tipo de conexión entre pintura y fotografía. Tratamos de plasmar la relación que hay entre nuestros propios pensamientos y las imágenes que estos nos sugieren”. Aida Hebles Sánchez and Noelia Secaduras Sánchez are Le Mask, an artistic group in photography, illustration, cinema and painting. Le Mask is open to any artistic creation. Now they present two of their current works: Respira (2011), a short film, and the photographic exhibition Identitat (2011), now exposed in Barcelona but soon at the Florida’s Steinhausen Gallery. First, there’s a sample of it in our exhibitions section Esbós.

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Identitat (2011) goes into the created image, the one we perceive and the one we feel as our own, always in the permanent doubting land. We are in front of a compilation of portraits in black and white but also in colour in which physical and psychic masks are obstacles but also a seduction game good for deceiving everybody, including ourselves. They explore personal feelings with an exquisite tenderness in photos like Així ets tu and Vull pau, or with a powerful energy and determination in Ara o mai and Progrès. Seduction, the everlasting back light between the things we want to show and the ones the others see or want to, its showed in a mysterious way in Ulls de color de mel. It’s a work full of Voluntat in order to achieve a Estona de cel but always a beautiful journey to the light and at the same time dark inner beauty. Respira (2011) is a short film directed by Aida Hebles Sánchez which has been selected by the Festival DO Films Cambrils-Reus and the Festival REC de Tarragona in their current 2011 editions.“Después de un accidente de tráfico Claudia despierta perdida en ese mundo entre la vida y la muerte. Allí querrá ver la imagen de su madre y su búsqueda la conducirá por un camino de incertidumbre y desesperación hasta llegar a la propia verdad”. It’s a complementary work to their photographic project, the search of the own identity. It’s a really distressing film in which the main character’s asphyxia is immediately transferred to the audience who feel a terrible sense of unease as a result of their identification with the questions and feelings created by the film. It’s an excellent film that makes our cinematographic lungs breathe new airs.

Text by Juan Carlos Romero Photos by Le Mask. © Le Mask

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LES AUS Extirpated poems 25

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If from a passage of a poem we could extract the essence of poetry through verbal alchemy and appropriate metaphors for the occasion, the sky would probably be gray or blue or dark velvety and filled with moons and full breasts out in the air, as if saying thanks to Ruben, scattered by the wind and luxuriously tousled to the astonishment of the pines that we’d inevitably surrender at his feet. But, if we didn't pay due attention to the foundation and slowly and sinisterly shredded its shape, separating vowels from consonants and creating a senseless lexicon jumble, we’d get a social convention. Even when tempted by the second option, don’t cast aside the first so quickly, and let yourselves be carried by songs and lyrics; Les Aus are here to celebrate. Collaborations with electronic composers from here and there, and a wonder called Electric War (2011) that breaks senses and sensibilities equally. I could devote this space to describe their music, between lysergic and daily, or both at once, but the writing should be destroyed to be reborn from the ashes of a post-mortem origami. After it burned, black dominates, with occasional gray details that create a certain boundary between an inert world and the one still breathes, despite us. The electric war is asleep while all HI-FI goes from ash to ash, but everything ends just to listen to this band that honors our presence despite the risk that the height difference is of breaks and tears. If storms could talk ... Text by Juan Carlos Romero Photos courtesy of Primavera Sound

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PETE ROBBINS Syncopated silence 28

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There was a little red suitcase stuffed with treasures from unknown regions and flavors of dubious precidence. “Cogito, ergo sum” said Descartes, seeing in doubt a motor for lives and deaths in dangerous surroundings. One of those treasures answered to the name Jazz. It was syncho-cratically lively and from uncertainty was made his only truth in an improvised dance with passion. Pete Robbins asked for a well-loaded cup of joe while Aphrodite made sweet love to the little case full of dreams cut short. Finishing his cup of coffee, taking Jazz into his hands and whispering sweetly to his sax. His sound was juicy and gave new meaning to each and every of his fringes. Aphrodite revealed her body to the rhythm of a Silent Z which was born there like the new creation of Robbins which is now coming to us live. Can you dig it? Pete Robbins grew up in Andover, Massachusetts, outside Boston. With just 6 years he started playing piano at 9 clarinet and sax at 12 while he admired musicians like Miles, Bird and other Jazz Olympus gods. He moved to Brooklyn in 2002 and he has already recorded with talents such as John Zorn, Mark Dresser, Craig Taborn, Ben Monder, Mario Pavone and Kenny Wollesen and is considered one of the greatest creative forces in jazz today. His latest album has been recorded live and he defines it as “This is my electro-acoustic quintet that plays everything from highly structured compositions to free group improvisations. Cornet, guitar, and bass use a variety of effects pedals to explore wide-ranging timbral possibilities. Hard grooves and rock textures often dominate the sound”. His band is a top-flight one under the name of Trans-Atlantic Quartet and they accompany him touring around the world, as well as other groups such as the Unnamed Quartet. When Pete Robbins talks about his touring band in Europe he says “This quartet tours Europe extensively, playing a mix of my older and newer pieces. Compared to siLENT Z, the focus is less on timbre and semi-structured improvisation and more on exploring the details of the harmonic and rhythmic elements of the compositions in a clear and convincing manner. A live album may be coming in 2011... stay tuned…” And we're waiting, Pete. Text by Juan Carlos Romero Photos courtesy of Pete Robbins i Kevin Brow

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TOM ZÉ Um oh e um ah 32

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I discovered the world of Tom Zé thanks to my passion for The Talking Heads. Yes, it's one of those chains of life that really fascinate me whose memory it’s always a great pleasure. For example, Paul McCartney led me to discover The Beatles (although it seems it should be the other way around), but also to Elvis Costello, Carl Davis, Freelance Hellraiser, Youth and Super Furry Animals. In turn, Elvis Costello made me fascinated with Tom Waits who let me to love the cinema of Jim Jarmusch. Thanks to him, a Dead Man made me love the music of Neil Young. The group Radio Futura discovered me the treasures of Caetano Veloso and Compay Segundo, opening to me all the vast universe of Brazilian and Cuban music, almost without limits. Hence I arrive to Vinicius de Moraes, Antonio Carlos Jobim and Joao Gilberto who along with Stan Getz lit up the sixties with their girl from Ipanema. With Stan Getz, jazz came into my life. I still dance with it. David Byrne, the main head of The Talking Heads, created in the late eighties the label Luaka Bop and Tom Zé became rediscovered for the world through a two-volume compilation. I came to them much later, at the time in which a baobab shaped as music program grew to the final death in the middle of a television oasis called Canal 33 of the Catalan public television. Yes, the program was called Baobab, also home to many of the mentioned chains that I love. I discovered there Frank Zappa and Tom Zé. So I searched his records and came across the compilation released by David Byrne long ago. I saw, I bought it and I enjoyed it. And so it’s been for many years, and it will.

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Tom Zé was born in 1936 in Irara of Bahia in Brazil within a wealthy family. In the late sixties he became a protagonist figure of the renewal of Brazilian music within the movement known as Tropicalista. Tropicalismo arrived as a messianic bird in a redemptive mood. It was the seventies or late sixties, when Brazilian music emerged again from its powerful ashes, so the bossa nova had been emerged just a few years before reaching sales over The Beatles with that girl from Ipanema full of grace cherished by Stan Getz sax and Joao Gilberto's voice. Yes, however, Brazilian music had much more to create and psychedelic sound arrived thanks to Os Mutantes and then Tropicalismo with Caetano Veloso, Gilberto Gil and who we are concerned, the most eccentric of all, Tom Zé. His work is prolific, very experimental and loaded with a huge sense of humor. He went unnoticed in the eighties, but today, 74 years old, is more creative than ever, a perfect UHM HÉ!.

Text by Juan Carlos Romero Photos 1 and 2 by Vincent Moon Photos 3, 4 and 5 by Kleide Teixeira

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LJILJANA PETKOVIC Green windows 35

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Ljiljana Petkovic is a multifaceted artist. Leading the Ljiljana Petkovic Orchestra but also as an actress in musicals and concerts and as a DJ, the continuous search keeps her alive. She loves the sentence “Only great minds can afford a simple style”, something that certainly can be applied hersefl. Presented as Ljiljana Petkovic or as her alter ego Manuela Krause, her life is full of passion for music, poetry and philosophy. Now she and the great musician August Engkilde publish an album called Hinter dem Spiegel (Brumtone, 2010), songs full of sensitivity and acoustic and electronic virtuosity. The conventions exist to be broken. Who is Ljiljana Petkovic? Is that a rhetorical or a philosphical question ? I guess Ljiljana Petkovic is a seed of a rare desert flower which eventually can grow into a green oasis ... What is there behind the mirror? Talk to Alice ;) I will speak about this later. Could you explain us the yellow origin of Ljiljana? Ljiljana is my birth name. The name comes from the Serbian word Ljiljan. The origin comes from the flower lily. It is an ancient and widespread light symbol, a symbol of purity and beauty, but also a symbol of death...lilies are very popular on funerals. Maybe the intense fragrance shall cover the smell of death. Of course it does not work. The same with Patchouli, a fragrance which was very popular in the 60ies and 70ies. It was said to cover the smell of Cannabis. Do you know what lilies, patchouli and cannabis have in common ? Their smell evaporates very slowly and therefore it remains present for a long time and if we want it or not it effects us...I hope our music works like that, too ;) What do you find in eastern folk music and how does it fit with electronic sounds? I love the rhythms, the passion... if you listen to a song from Balkan for example there is so much energy, you can hear the culture, the temper, the life...at the same time I also love the melancholic melodies - okay sometimes they can be quite pathetic, too and it can get far too heavy ! All the moaning and suffering that sounds like there is a part who secretly enjoys to stay in the role of the victim and likes to suffer... I am no fan of that ! I believe in responsibility. At the same time I like the “blue” sounds, too. They are an emotional expression of how we react to experiencing life. And to your question about electronic sounds and how they fit – Aren't all sounds “electric” anyway ? For me the question is not if it fits, it's a question of taste. We love music. The reason why we love certain sounds has only on the surface to do with the instrument that creates the sound originally. I think it depends on how sounds and music affects us. “Immer so tun als ob” is deeply against social rules and conventions and a very melancholy tune, as if everything was lost. “Sein oder Nichtsein”, you sing. Have we all sold our souls? “Always act as if” is a song to remind you to stand up for yourself ! It is a protest song that criticizes the superficiality of our society and shows how easy and fast we are lead astray... A critique to saying things, that sounds good but with no deeper meaning or with the intention to stand up for what has just been announced (for example politicians and their speeches). We find this behavior in various layers of our society... Polished facades, people juggling with words and gestures and always acting as if it were all very natural, hiding themselves behind...maybe here is a

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good moment to talk about the mirror: people can be like mirrors, reflecting an image of themselves, that is wanted by society but it is not their real “self” - this is somewhere behind the mirror, probably bound and gagged in the dungeon of their souls, hidden and unheard even by themselves. We tend to dominate our feelings with reason. “Sein oder Nichtsein” - in English: “To be or not to be” is of course the famous quotation from the tragedy of Hamlet, “Prince of Denmark” by Shakespeare... Hamlet is afraid of resolute action and to take responsibility for his life, because he is afraid of death. I guess there is a bit of “Hamlet” in each of us...we are all souls, who decided to be here at this moment of time to experience life and we are all uncertain where this life will lead to. In “Kotki Daw (Two little kittens)” do you remember a polish child song while a warm night air comes into your room through an open window. Is sensuality a little cat? Kotki Dva is a song about dream and reality and the question “where is the interface” ...Arleta, a friend of mine, has been singing the Polish lines of the song to me, when I was living in London. I made interviews with young women from different countries who tried to make their living in the U.K. for a radio documentary called “shop girls”. Somehow Arleta's melody stayed in my head and years later when I was back in Berlin, I still remembered her song. I did some research and another friend told me it is a Polish child song and also appears in an old Polish black and white movie, where a babysitter is singing this song to a child, but it does not want to sleep... So he sings it over and over until he gets dreamy... This story reminded me of how we sometimes fall asleep without to recognize, because “life continues” in our dreamworld just like before. Or sometimes we even “wake” up from sleeping and then it turns out we are still asleep and to wake up and get up was a dream, too...So how can we say if we are awake or still sleeping ? I read a nice story from a chinese philosopher. Once he dreamed he was a butterfly who flew from flower to flower. When he woke up, he got very confused and wondered if he is a man that dreamed to be a butterfly or if it is not also possible that he is a butterfly who dreams to be a man....I very much love this story ! Isn't that an interesting thought ? That song finished with a blue light in your room and then you sing “Zitronenblau (Blue lemon)”. Your origin was yellow but your lemon is blue within a play of light and shadows. Are you a blue lemon too? The song finishes with a gigantic cat in a tiger dress on high heels with big blue shiny eyes...it's a wild cat, trying to seduce the listener with her cat appeal ... you better beware ! ”Zitronenblau”- lemon blue ! is a song with complete different topic. I chose by intention a lemon, because if we only think of lemons, our mouth gets watery - we have a sensual idea of the fruit, because we experienced it. We remember how it smells, we remember the taste and this all in the second when we hear about and think of a lemon... and of course we have seen lemons , so we know they are green when they are not ripe ore bright yellow...I decided to sing about lemon blue to add a moment of confusion, a surrealistic moment ...don't you think blue lemons look beautiful ? The topic or theme of the song is an invitation to be here and now at this very moment. All that counts is now, what we experience now and what we feel now. We can never describe with words or with pictures what we experienced, it will always be an interpretation of our experience. Experience is “now” A kind of sadness dominates the whole album, is life a sad experience? Life is an experience. The way we react to the experiences are our emotions. There is a big spectrum from all kind of emotions, depending on what we experience. Sad emotions are in any

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case a part of it and we can not deny them. In our society we are trained to always function and in case to function we need to be happy. Happiness is not a permanent state, it is a momentum. The same is sadness. Happiness and sadness are equal. There are times to be happy and there are times to be sad. If we want to live to our full potential, we need to embrace it all and that means we have to get in touch with our pain and sadness eventually. Tell me about the musicians in the orchestra. The leading role in the orchestra is my friend August, August Engkilde. In the music magazine “Grooves” they wrote some years ago he is “The next Level Teo Macero” and I must say he is really a very fantastic producer with a great talent and an remarkable ear. He creates very detailed, layered, polished and cohesive sounds and I am very glad he agreed to work with me. August is a great source of inspiration for me and a great teacher. I learned already a lot from him and luckily August is quite patient ;) I never learned any instrument professionally, I can play the main chords on an acoustic guitar and a bit keyboard, melodica and bells. I can write lyrics and melodies come to me easily. Enough to create basic ideas for a song or to play LOFi music. I used to do before and had even a tour through Siberia just with my little Casio keyboard. It was fun for some time. But when I listen to music myself I get tired of this retro keyboard sounds after some time. Then I want to hear more...I want to discover sounds within the recording I did not hear before. I really enjoy to discover... My dream was to create an album, which is multilayered. I have basic knowledges of recording and production, too, but my main interest is to sing and to tell stories. Therefore I wanted to work with someone who has the same passion for production that I have for singing and shares the passion in telling stories – August ! For “Hinter dem Spiegel “ most songs were ready on a very basic level – the chords, vocals and melodies. Without August non of the songs would sound as great as they sound on the album. He really made some shiny crystals out of unpolished pieces of glass... and I am very proud he did. He is a professional musician who studied Jazz in Copenhagen and New York. His main instrument used to be the bass, but he is quite a multi instrumentalist these days. Unlike me he has a lot experience in making albums, too. He has been involved in more than 30 Jazz, Latin, Electro, Dub, Hip Hop, Break Beat and other electronic/experimental releases on renowned labels with his own projects or with other musicians like Pole or Senor Coconut. So to come back to your question – mainly August is the orchestra, he played most of the stuff on the album. I also played a bit melodica, bells and keyboard and we had a friend playing some acoustic guitar and Richard Eigner played some of the drums. For most of the live shows we played so far, August and me were accompanied by the digital orchestra and by my friend Christian. Christian Buchmayr is an architect who developed an amazingly beautiful visual concept for our live shows. He is an artist with a conceptual approach using mostly self made content, combining analog photography and digital 3d tools, which are mainly used in an architectural context. He is a designer and architect, who likes to play with geometry, abstract shapes, surfaces, colors, rhythms and proportions. His compositions are less striking but very subtle and atmospheric, creating emotional patterns which interfere with the environment and sounds, adding another layer to our music and the performance. So far it was unfortunately not possible to perform with more than 4 people on stage. It's a question of budget, you know....but our dream is still to play one day with a real big orchestra ! Maybe after the release of our next album. Cross your fingers!

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Manuela Krause develops her artistic creativity in many different fields., for example, playing the main character in a techno version of “Cabaret”. What does artistic creation represent for you? Creativity can be expressed in various ways. Sometimes when I work too much on my computer, I bake a bread or a cake. That's a great way of creation, especially because I can eat it afterwards ;) For me it is very important to create something, if I don't do, I feel like I am exploding. I get angry and eventually very sad and depressed. Creating is a natural way to celebrate live. I am the most happy when I create. It is not the result that counts - okay unless it is a cake or something similar, than the result is important, too ;) , otherwise it is the whole process, being involved in the process, dealing with facts and improvising, seeing how something turns from an abstract idea into a very concrete shape. It is magic and great and new every time. I love to take part in the process of creation. I don't need to think much about. It is happening naturally if I don't stop myself. It's a daily challenge to keep moving, changing, all the time and this is what really makes me feel alive. Give me a colour as a symbol of your present and another one for when you think about the future. My color is green, always – it is the color of nature, the color of life, of plants, green is calming, green grows, green is the symbol of hope and survival. Did you know that green is found in most national flags of desert regions ? Surviving the endless desert can only be assured when you arrive a green oasis in time....

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GEOFFROY DEMARQUET Dim time 40

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His photography is the enigma of time and the essence of the movement. He captures that movement aware of their subjectivity, as valid as any other, but full of talent to make the light draw in his work what he seeks to show, that is that life is fleeting and that the moment captured is just a point of view or maybe just a dream so the present as life itself, is of a colour that will never be reproduced. What is the light for you? Light is a tool to highlight the evidence. It draws what we want to show. It is the lead actor of the act. What is your path to discovery? The way I take is often random or reflected, being fortuitous. The beautiful ideas appear sometimes in unexpected ways ... Do you want to create new realities? At all is an objective of my work. But who is trying, and get it perfectly. What do you think of death? It may be a vacuum, or fullness, or verily a release ... I try not to think about it ... It's a disturbing thought, but mostly in vain. What about loneliness? Loneliness sometimes allows us to focus, is very useful. But the interest of life lies in the exchange. Can we see your portrait in your work? Maybe ... I think every work of art has the print of the trace of the author, if his conduct is upright. If I speak of chiaroscuro, what situation would you want to photograph? Diverse personalities. How do you feel in front a still image? Inmovility, sometimes itâ&#x20AC;&#x2122;s the decisive moment... Itâ&#x20AC;&#x2122;s a subjective cut from reality, or simply a memory or a dream.

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Cold colours are most common in your photos. Where's the heat? In my house the colour fades to emphasize the past tense, usury, the "past". The colour is strong at present. All we have is love? ? And time continues to flow while vanity takes over our fear of a future that does not exist, and it wonâ&#x20AC;&#x2122;t. His pictures, however, are here to be experienced but you will never know what Geoffroy Demarquet really wanted to express in them because everything is an individual experience, his work also, but yes, full of sensitivity.

An interview by Juan Carlos Romero Photo by Geoffroy Demarquet. ÂŠ Geoffroy Demarquet

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MLLE EWA The passion of the past 43

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When I discovered the photography of Ewa Cieszkowska I quickly identified with their lively colors and the scenes she portrayed. Desire to live, play, show, fun. Her self-portraits are strong, as her expression, characteristic of a strong personality of who has experienced extreme passion but now has found the peace of joie de vivre. In her eyes we find the strength of all that surrounds us but being aware that we’ll never discover its secret. Her works portrait scenes perfectly studied except for the light that goes always with her as she feels it in every moment. She is like her photography, a talent to be discovered. 44 What is a Burlesque poupée? It is an attitude? It's not just an attitude, it’s a stripper who reveals her body in a show well studied. They all have very different personalities and very different artistic options to choose. Strippers are showing their body to a precise audience. They tend to be passionate for retro, for the past, and some need to be a Hollywood beauty. But the main inspiration comes from the pin-up queen Bettie Page and fifties. Some are charismatic femmes fatales, some rock, some fun! I chose women because they play a character in my photos giving them a role according to their physique and personality. For example, the girl poupée: is the one with the apple of love. The choice was easy because her artistic name Pomme d'Amour was right in that paper. The femme fatale, a hat cold beauty as a woman of 30 or 40 years. So I chose poupées women true burlesque. My hairdresser and my makeup have given a funny twist that makes the difference between her private life and reality. We could say that you look for the glamorous light in the body. But what is the light of glamor? I do not know what the color of glamor is, I never know in advance what light I use in my sessions, just as everything was scheduled for the session, ie, the event with the girls with stylists, hairdressers and makeup! He had planned everything for them except light. I do things based on feel. The sensuality mixed with naivety is also a participant. Why is always so attractive naivety? Kinda like in the fifties, like a smile, to show that we are happy ... a bit silly, but true. The colors are vibrant, an invitation to enjoy life. They are a reflection of your own personality? It is true that I rarely take black and white photos. Some years ago I made some photos very trash, very dark and black, and I was actually the lowest oin drugs and my photos reflected the consequences which was not favorable to me. Today all this is over, I'm happy, lively and bright! I enjoy life and I like to laugh and have fun. Yes, they are a reflection of my personality. I am also a burlesque poupée basically just that I'm not a stripper but a passionate pin-up of Marilyn Monroe, Bettie Page and the past. That's why I see these women producing a show.

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You recently worked with Karl Lagerfeld. Tell us about that experience. I am registered in a model agency. The agency contacted me for an audition when they were looking for a makeup artist for the advertising of the Magnum ice cream, which was directed by Karl. After the audition, I got a call that afternoon to tell me that I had been chosen. Two days later, early in the morning in Paris. I had stylists to dress, hairdresser and makeup artist. Around noon, Karl came to see how things were going and my surprise was that he spoke to me because he recognized me from the casting because he chose me. He was lovely to praise my style, he asked me questions about my private life! A real surprise! I was more than excited! Happy to be with him. The working day was long and hard, especially for high heels of 15 cm. But what experience! You have also been the photographer of Virgin Princesse in her first album. You have more experience in music? Yes, photos of Juliette Katz before her first album, but we all know that artists will soon forget about you. And I didn’t take her bad photos in the past. So Cat Lady also, I made for her the front cover of Magazine, she’s a singer and maybewill release an album soon. We can say that your photos look for reality? I do not know, I'm in my world. Men in your photos show always a hard image. No tenderness? Men do not inspire me! I do not want to photograph them ... I’m not able to do it. Another aspect is your love for tattoo. Where does this love come from? Life is a tattoo? The tattoo has an important place in my life, although it closes me a lot of doors ... but not stop living my things for fear of negative looks. I started tattooing me at 17 years but the big pieces, mostly, I've done them the later ... and no regrets! I've always been attracted to anything artistic and to image ... except that in this case is the image on the body. Sex and seduction? None of sex ... Always seduction. What is your portrait? My portrait? You have my picture then you know it.

An interview by Juan Carlos Romero Photos by Mlle Ewa. © Mlle Ewa

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LITTLE SWEET THINGS Winter sun 47

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Littlle sweet things in life are those for which it pays to be in this world if only for a few years. Sweet Little Things is the alter ego of Rebecca Escabrós, a creative rugged photographer in search of a rising sun at every moment of life. Elegant in soul and form, her camera is an extension of her own lifestyle, able to enrich her own soul in any scene of the daily life. With its light, the winds sculpt new ways just for her. Every element wants to get caught by her camera while moving.

Where does your urge to capture the moment come from? The truth is that since very young I have always loved watching and retain all moments as possible, but I was short with my retina and I needed a third eye. I’d be lying if I said that since a girl I was playing with cameras, or that I come from a family of artists. No. I've always been a very private person and "few words", and I guess that photography escaped me (and escapes me) from the world and made me (and makes me) reacquaint myself. "My first camera" (though it really was my mother) was a Kodak Pocket Instamatic and I played a lot with it so I stole it from its crate a lot of times, so ... ... I should be around 10 years at that time. But I just played with it. I have taken many turns to get where I am right now. My parents, humble, I am very proud of them, were never entirely agree my life was so "artist", they wanted me to explore some "profit" for tomorrow, as my sister. In a way, I listened to them and I studied, I started studying criminology (the third year I left) and then International Trade and Marketing. At the end, I decided to take a year off (but working) to really decide what I wanted to do with my life. I did not like "me" at that time. After two years, I decided to really devote myself to photography because it was and is the only thing (aside from the music) that really excites me. So the time came to believe in me and putting everything to make me really full. And here we are trying to turn my dreams into reality. When do you think you get a good photograph? There are always good photographs in every place, every corner. The nice thing, I think, is to know that "it" becomes wonderful from your point of view, from your eyes. Good photography is the one oneself takes, because you make it special. You and nobody else can see it from your perspective, and that's great. Is a photograph an act of love? It’s an act of love, revenge, hatred, depression, eroticism ... whatever you want.

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What is your relationship with your own image? I love self-portraits, but it doesn’t mean I’m egocentric (the opposite). As explained before, I am very private, shameful and shy, and though in my self-portrait seems the opposite is the way I have that people really know me and understand me, a way of uncovering. And personally, it’s a challenge, a journal of my life ... to know myself. By the time someone comes to know the truth (which I think most people, if not most, die without it), you can come to understand others and the world. And I think that's fantastic, to be able to portrait myself and know that when the others will see my picture, they’ll can be leaded to feelings, emotions and most importantly, know what will cause the feeling of what I was involved at that time.

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You use to accompany many of your photographs with personal reflections with which one has the feeling you are making a journal. Do you fear the fact that life unavoidably escapes? I love this question. As I said, the journal of my life is in those pictures and all the reflections I do with. I like to find myself, and scratch and scratch until you find a lot of questions and create them and try to answer them (or not). I fear missing out on life. I think I would fear even more if I had chosen another way, the way they wanted me to take, be afraid if you do not enjoy. Everything is just like us, therefore, have to make those ourselves dreams come true. It seems so sad to see people who have no enthusiasm for anything, it is sad to see they are there just to stay. I think I would fear to be like this. You work as a music photographer. Under what circumstances would you prefer to portray a band or a solo artist, in the studio, in concert or in a more ordinary? Here are two of my passions together. I enjoy when I'm like a dwarf in front of them on stage (but I think it's the matter of liking what I hear) and this intensifies the pictures I take.

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I would not choose any options you give me as a choice. They are simply different from each other, very different. In one, enjoy the music and try to capture the best moments of the band on stage and on the other hand, promotional photographs of the artists and enjoy their stories. Actually, I'm a pretty daily photographer (I think) and I like to capture things that happen around me, "without more." By this I mean, I'm passionate about taking the car and decide on the fly session we will do with the groups I've been. Although I always "investigate" a little how they are (with videos, concerts, their blogs, ...). I like to work with them being themselves, to be where they are and not be where I am and most of all I enjoy it as much as I do, and be comfortable. You can know so much a person when you portrait him and itâ&#x20AC;&#x2122;s a delight how they change while the session is going on. You redirect them a bit to what you want the picture to be, but also respecting their own space. In the end ... they have to be themselves. You walk through black and white and color with the same force and a high sense of composition, in substance and form, creating a big emotional and vital effect. Which light does it weigh more in your photos, the one that comes to you or your own inner light? A photography teacher told us that light is important, and yes it is very important. And we had to master it, not let the light masters us. At first, it is difficult, but when you practice it, studying it and getting tame, everything else ... comes with time. At the time you get this, it's like the light is part of what you do but just a little effort, you know how it will be, you know what force will have. I realized how important light is, and when you add everything in me and all I want to show, my inner light merges with the ambient light and is really great all you can do. You have to play, the most important thing is to play with both lights, and above to enjoy. What value do you give to spontaneity in your photos? A total value. I always say, the camera is part of you, is a part of my body and the pictures come easily, because I like what I see and ... click!, And there is already another picture without thinking, just because it appears, because I like it. It's like the blink, blink without being aware. And I take pictures without being aware, because "I" do it, because the body asks me to do it.

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In total darkness, what do you have? Many things in the pipeline I should discover and build each passing day. What is your presentâ&#x20AC;&#x2122;s picture? Be happy, smile, and show that I'm here for something.

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ANA PAULA SELTZER Después de haber nacido 53

Después de haber nacido tres parejas de dioses, nació una nueva pareja, Izanami e Izanagui, a los que los dioses celestiales ordenaron la creación de un país nuevo. La pareja, al recibir dicha orden, hizo primero una pequeña isla en la que descendieron inmediatamente. Ahí el dios Izanagui le pregunto a la diosa Izanami; -“Como está hecho tu cuerpo?”. La diosa le contesto diciendo: -“Mi cuerpo está muy bien hecho, pero le falta algo”. A lo que el dios Izanagui repuso: -“Mi cuerpo también está muy bien hecho… pero le sobra algo: ¿Qué te parece si lleno lo que te falta con lo que me sobra?”, “de esta manera podremos crear un nuevo país, ¿no?”, -“Muy bien”, respondió la diosa. Ellos se juntaron y así de este modo crearon las islas de Japón. (Koyiki, Tomo I)

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De niña creía con toda seguridad que la sangre era de color violeta. Lo predicaba al resto de los infantes que iban conmigo a mi sala celeste del jardín de infantes, como aseguraba también con toda seriedad que mi alter ego era Penélope Glamour. Igual sangraba mucho de chica porque vivía dándome flor de porrazos, agregándole el condimento de que todo lo que llega a mis manos tiene alta probabilidad de una vida útil limitada (ninguna Penélope Glamour). Creo que incluso esta falsa aseveración tiene como origen a Mati inventando mitos debajo de la mesa durante las tardes de sábado, cuando pasaban sábados de Super-Accion por canal Once.

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Enfrascada en mi destilar de reflexiones, (la cosa se resuelve “Un colpo al mío collo y no hay vuelta atrás”)...Bueno, quedo algo enredada acá parada. Justo cerré en la página del El Retrato de Dorian Gray que decía: Nada puede mejor curar el alma que los sentidos, y nada puede curar mejor los sentidos que el alma. Es que el subte había llegado a Callao.

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All the lonely people Where do they all belong? Estoy corriendo… tirada en la cama pero miro a mi ventana y hay algo que se, que no encaja. Reíte mientras me muerdo la garganta. Son momentos como estos en los que exijo que las manos se den la bienvenida. Que mi nombre no tiene abreviaturas. Doy vueltas alrededor de mi circunferencia y llego a la conclusión: Yo todavía no cambio la constante, solo las variables. Así que no va a ser de un día para el otro.

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Libertad No querer tener nada No esperar nada No depender de nada

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Me pareció tan cierto, era indudable lo que exponía, que me inquieté. Y me impresionó oírte canturrear mi desahogo disfrazado en metáforas, y te insistí para que me dejes arreglar algunas partes, con la coartada de mejorarlas. Me dijiste que no, y me pediste que repita el estribillo al final.

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Pero sos lo que amás y no lo que el amor te devuelve Y uno se enamora de ilusiones Así que mírate con perfección unilateral Te enamoras de trucos Y así de manera incesante Hasta sacar otro conejo de tu galera.

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Y después imaginando como siempre mis lugares conocidos: donde las cosas vuelan y se transforman, buscando que se conviertan esta vez en algún tipo de consuelo... porque me encontré sola y había perdido mi pasaje de vuelta. Juro que tuve esa certeza de que para mí, estaba lloviendo (dentro de un departamento ubicado en un quinto piso). Acto seguido apareces ronroneando. Descalzo como yo, pero sin paraguas. Pero yo tengo mi sombrilla estrellada. Te conté que cada vez que la abro, suena The Walrus? Es todo tan espesamente metafórico, rápido e irreal en nuestras vidas (en la mía, no voy a estar proyectando a esta altura de las cosas).

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Mi existencia no está llena de eventos extraordinarios, perohoyfuigrandiosa. La rutina diatrasdia en mí y fui magnánima, seguí saltando sobre un coso violetaazul y así fue -brazo derecho estirado de forma vertical- hasta llegar al techo. Y en medio de mis saltos, giré y los contratiempos/calor asomaron a minimilímetros de mi nariz pecosa, me di vuelta y seguí saltando porque, claro, es lo que hay que hacer: seguir saltando.

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Y recién hoy, cuando vi el arcoíris desde mi ventana me di cuenta que… Mi amor, el Universo se observa desde el punto de vista de una gota de agua en el Pacifico.

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GEOFFROY DEMARQUET Photographies 63

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All photographs by Geoffroy Demarquet © Geoffroy Demarquet

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MLLE EWA Poupées burlesques 74

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CHRISTELLE HODENCQ Comme dans un rêve 85

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LE MASK Identitat 94

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LITTLE SWEET THINGS Shooting lights 109

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CLARA ENGEL Throw a fish 118

I ran down the wooden stairs onto the beach. Already everything was turning, ruins smoldering in the river's sunken belly, like scraps of lightning left to do a screeching dance in a teapot over a blue gas flame. The pitch dark was dusted with scaly eyes, people and cats creeping out, some without skins. If belief is a jungle before a forest fire, wisdom is the charred still-breathing wasteland, warming its bald ghost against the sun's lonely lamp. I wanted to write a letter to let you know that the marsh is alive now with radioactive spiders and butterflies, and that we may all become sterile here, but the sunsets are beautiful. Neon, amethyst, golden, bruises that resemble violets under pink snow. I still dream about you. My skin is changing colour. Now I am a soft shade of purple and I blend in with the sky. I know we won't meet again, and I don't know if you remember how we touched. but someday, before you get old, go stand out in a field, and throw a fish back into the moon for me. Poem and picture by Clara Engel All rights reserved

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REFERENCES Mlle Ewa www.ewa-c.book.fr Schneeweiss und Rosenrot www.schneeweissundrosenrot.net Agnes Obel www.agnesobel.com Christelle Hodencq www.christelle-hodencq.com Lori Watson www.loriwatson.co.uk Le Mask www.flickr.com/photos/lemask Les Aus www.lesaus.wordpress.com Pete Robbins www.peterobbins.com Tom ZĂŠ www.tomze.com.br Ljiljana Petkovic www.brumtone.com/ljiljana-petkovic-orchestra Geoffroy Demarquet www.graphiste-freelance.eu Little Sweet Things www.imlittlesweetthings.tumblr.com Ana Paula Seltzer anapau007@hotmail.com Clara Engel www.claraengel.bandcamp.com

NAU NUA APRIL 2011 EDITION NUMBER 6 PUBLISHED BY NAU NUA ART MAGAZINE www.naunua.blogspot.com CONTACT naunua@live.com

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