art magazine november 2021 October selection
Sincrônico
Juan Pablo Mapeto Collective 19
Ritos
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cover by Jörg Coblenz collective 19 vISIT his PAGE ON OUR WEBSITE
EDITOR’s...
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Valentine interview collective
Ian Turnage-Butterbaugh collective 19
Ian
Turnage-Butterbaugh USA
interview collective 19 CHALLENGE 2019
Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project. My photographic work is an attempt to bring into focus the overlooked elements of our environment, which have the capacity to add so much depth, complexity, and beauty to our experiences. Through the use of multiple exposure photography and opacity blending, 15 to 75 images of a stationary object, each taken from a different distance or angle, are layered together to present a more complete representation of the object within its entire surroundings. The viewer is invited into the scene, complete with contextual elements that compete for the their attention and offer a uniquely personal experience, limited only by what they fail to notice. Within which mood of art you place your artwork? I’m not sure all of my photography fits into one specific mood; however, much of my most recent work is reminiscent of impressionist art movement. By blending multiple exposures taken from various angles across time, the transient effects of light, movement, and time, together, create a novel and surreal depiction of a scene. Subjectivity, inherent to impressionism but often lacking in traditional forms of photography, is introduced through the spontaneity of this technique. This distortion of perception is intentional, with the goal of creating a somewhat ambiguous artistic medium, at the intersection of photography and painting. Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it? Art in the United States is wildly diverse and cannot be described or summed up easily. There are an unthinkable number of active artistic communities, but two that are applicable to my work and of which I am active are the intentional camera movement (ICM) community and the impressionist photography community. Both communities are relatively young with a small but devoted base and are highly encouraging and supportive of emerging artists. Some of my favorite examples of these artistic communities are found on Instagram @icmphotomag and @theimpressionistlens. What’s a typical day in Ian’s life? Photography, unfortunately, is not what I do full-time, so a typical day in my life is not what you might expect. I work at a large public research university in Minnesota and, prior to the COVID-19 pandemic, spent at least 40 hours a week in an office. The building I work in, however, is right on the east bank of the Mississippi River and the view from my office is one of the best views in Minneapolis! Due to COVID-19, the University suspended nearly all on-campus operations in March of this year so, since then, I’ve been working from home in Northfield, MN. Photography is a form of therapy for me so, now more than ever, I try to squeeze in time for photography after work and on the weekends. If not out doing photography, I’m probably at home with my wonderful partner, Caroline, and my adorable Italian greyhound, Pickles. Traveling for art, for example for personal exhibitions or for other art exhibitions you want to see? Do you like to see others’ art? I am fortunate in that I have had many opportunities to travel for art over the last few years. My partner is a mathematician
and travels all over the globe to conduct research, attend conferences, and visit collaborators. I try to tag along on as many of the trips as possible and, as a result, have been able to engage in photography on five continents. My photography has allowed me to see parts of the world I never thought I would and has instilled within me a deep interest in, appreciation of, and respect for a wide variety of regions, cultures, and traditions. Throughout these travels, I always seek out others’ art, whether it be in the form of architecture, painting, sculpture, photography, music, or food. Visiting new places without learning about and experiencing the local, regional, and historical art scene would be utterly incomplete!
Previous pages, in order Photo Sketch #1: Cathedral of St. Paul Material: multiple exposure photography Description: Blened composite of 31 black and white photographs of the Cathedral of St. Paul. Photo Sketch #9: Central Block Material: multiple exposure photography Description: Opacity blend of 21 photographs of the historic Central Block Building in beautiful downtown Northfield, MN. Where are your favorite places or themes where you can find inspiration for your work? A major theme of inspiration for me is isolation. I seek out places that are “off the beaten path” or in the middle of nowhere so I can slow down and experience something new or some place that few others have experienced. Since moving to a large city a few years ago, achieving isolation is much, much harder. As a result, I’ve found a lot of inspiration in the patterns, lines, and textures of architecture, which are often overlooked if not moving through a city intentionally and mindfully. A lot of my recent photography is a direct result of these two forms of inspiration … isolating certain buildings, objects, or subjects so they and the elements of their context are experienced in new ways.
Photo Sketch #12: A Dream of the Past Material: multiple exposure photography Description: Opacity blend of 27 black and white photographs of a bustling street in downtown Minneapolis.
Have you studied art or are you self-taught? I am completely self-taught; however, I come from a family of avid photography hobbyists. Both my paternal grandfather and father were photographers, so I think I inherited the “photographer’s eye” or a “creativity gene” from them. Growing up, I always had a camera, but it wasn’t until I went to college that I got an interchangeable lens camera and started experimenting with more advanced photography techniques. In graduate school, I used photography as a form of therapy and, as a result, began developing a personal artistic style that reflected my mood and need for escapism. Over the last few years, I’ve really pushed myself to experiment with manipulating light, blending exposures, and leveraging the passage of time, and have skillfully developed techniques that now define who I am as a photographer and artist. Do you remember the first artistic work you did? For a long time, my artistic portfolio was solely comprised of long-exposure photography and I definitely remember the first successful long-exposure photograph I ever took. In fact, it’s still part of my portfolio and one of my personal favorite photographs. Titled “Stuck in High Tide,” it is a three-minute exposure of a tree in the Atlantic Ocean off the coast of South Carolina. I was just starting to experiment with long-exposure photography and was absolutely shocked when I saw the image preview in the viewfinder. I was absolutely hooked by that feeling of excitement and joy, which is an elusive but oh so rewarding result of art! What do you think about social networks and the web about art and artists? I am not a fan of social media and am not part of any social networks for purposes other than photography. Until last year, I never showed my photography and am uneasy about doing so on social media. I don’t like the way social media consciously or unconsciously influences the creative process and dictates what is considered “good.” For me, social media and the endless pursuit of validation strips away some of the joy of photography. At the same time, however, I wouldn’t be a part of the No Name Collective and other art groups if it wasn’t for social media! I suppose I’m a reluctant participant in social media but I’m grateful for the inspiration and opportunities it has afforded me since joining in 2019. Could you talk to us about the idea of your project? My special project and photography brand is called Revisionist Photography. Each piece in the Photo Sketches series is a blended composite of 19 to 75 black-and-white photographs of a stationary object (typically a building) taken from various angles and distances. Using a manual blending technique, the photographs are aligned in a way that manipulates the object’s natural lines and dramatically accentuates its texture. This process results in a somewhat ambiguous artistic medium at the intersection of photography and graphite sketching and offers a unique, if not surreal, perspective of each scene. You have organized exhibitions in the past. How does it feel to involve others in your art? I have never organized exhibitions in the past but I’m thrilled to be a part of one along with 18 other artists in the No Name Collective! What is your favorite artwork? My favorite photograph is titled “Stuck in High Tide” and is one of the first successful long-exposure photographs I ever took. As I mentioned above, the resulting image was awe-inspiring and elicited so much joy that it holds a very special place in my heart. Aside from representing a pivotal point in my photographic and artistic style, the location is quite dear to me, too. The photograph was taken off the coast of South Carolina at a place called Botany Bay Plantation on Edisto Island. The plantation was inaccessible to the public until 2008, which preserved its natural shoreline. Several trees stood in the water until 2017 when two particularly strong hurricanes battered the coastline and knocked down the remaining trees. I consider myself
Next page: Photo Sketch #3: The Foshay Material: multiple exposure photography Description: Opacity blend of 46 black and white photographs of the Foshay Tower in downtown Minneapolis.
extremely lucky to have had the opportunity to experience and photograph these wonders before they were destroyed. If you could show off your artwork anywhere in the world, where would you choose? If I could show my photography anywhere it in the world, I would have to choose somewhere in Switzerland. My grandfather served in the U.S. Military during World War II and was stationed in Switzerland for a period of time. The landscape photography he did in Switzerland has been a source of inspiration since my childhood. Having the opportunity to show my work in the country that inspired both him and me would be an amazing experience! Are you reading a book at the moment? There is one book you have on your reading list? Currently, I am re-reading “The End of Night: Searching for Natural Darkness in an Age of Artificial Light” by Paul Bogard. I’m enamored by the night sky and am heartbroken that light pollution has obscured our view of stars, constellations, and galaxies. I remember seeing the Milky Way as a child but haven’t been able to do so since, as I’ve lived in places with significant light pollution since then. Additionally, with SpaceX’s Starlink Internet Project, our view of the night sky is becoming even more obscured and stargazing and astrophotography will never be the same. Paul’s book reexamines the importance of darkness, traces the history of artificial light, details the impact decreasing darkness has had on the animal kingdom, and challenges readers to contribute less to the problem. The book is, at the same time, inspirational and infuriating, but ultimately helps me experience the night sky with intentionality and revere. Is there a famous contemporary artist that you want to report? And an artist who is not famous but who you like and whose artistic research do you share? My technical and creative skills have been heavily influenced by two contemporary photographers, and it would be remiss of me not to acknowledge the impact they had on me. The first is Antony Zacharias. Antony is a master of long-exposure photography and his book, aptly titled, “Mastering Long Exposure Photography,” served as a field guide and companion as I experimented with the technical details of this form of photography. The second photographer I’d like to acknowledge is Pep Ventosa. Pep is credited with developing and popularizing “in the round” photography technique, which involves taking a number of pictures of an object as you walk around it, then blending them together to create an artistic representation of the object. His original technique sparked my interest in multiple exposure photography and provided endless hours of experimentation. Overtime, I’ve modified the technique to reflect my personal creative process and artistic voice, but Pep unknowingly planted the seeds of inspiration. Thank you, Pep! And an artist who is not famous but who you like and whose artistic research do you share? I’m really drawn to another emerging impressionist photographer who goes by the name of Linescape Photography and is based out of England. The way he uses architectural lines to distort perception is really beautiful and fascinating! You have been contacted by No Name Collective Gallery and did not know what kind of project we would have made: are you happy to trust us? In all honesty, I was skeptical of the No Name Collective Gallery at first. I receive an unsolicited message from one of the gallery curators who invited me to apply for the Collective and I was unsure of their motive and legitimacy. After learning more about the No Name Collective Gallery, I submitted my application and hoped for the best. It turns out their interest in my work was genuine and their motives are sincere. I am honored and proud to be a part of the 2019 Collective and certainly trust the curators and staff with my artwork and this project. We ask for a small fee for the selection of the magazine and our other calls (artistic residencies and art clashes) but for the artists, we have selected and which we will select every year then we work for free. What do you think about this thing? I’m grateful for the opportunity to be included in the 2019 Collective and for the support and exposure the No Name Collective Gallery provides to the artists they select. I’ve been showing my photography for less than one year and having been selected as a featured artist is incredibly encouraging and validating. The exposure my work will receive at such an early stage in my artistic career will be invaluable and extends well beyond what I could do on my own at this point. Also, as an emerging independent artist, the Gallery’s financial support relieves a burden that nearly every artist struggles with and is something I have not overlooked. I give my sincerest thanks to the No Name Collective Gallery for their selfless support of independent artists and couldn’t be happier to be a part of this “family.”
Previous page: Photo Sketch #7: Winter Bones Material: multiple exposure photography Description: Opacity blend of 19 photographs of a lone tree in a snowy field in Northfield. Photo Sketch #3: The Foshay Material: multiple exposure photography Description: Opacity blend of 46 black and white photographs of the Foshay Tower in downtown Minneapolis. Impressions of Autumn #9: Carleton Tree Material: multiple exposure photography Description: Multiple exposure blend of a single tree on the campus of Carleton College in Northfield. Impressions of Spring #1: Loon Tree Material: multiple exposure photography Description: Multiple exposure blend of 25 photographs of a tree blooming in spring. Urban Impressionism #3: Wabasha Sidewalk Clock Material: multiple exposure photography Description: Multiple exposure blend of 28 photographs of a four-faced sidewalk clock in downtown Wabasha. Next page Urban Impressionism #9: Historic Main Street Material: multiple exposure photography Description: Blended composite of 19 photographs of street lamps along historic Main Street in downtown Minneapolis.
Ian Turnage-Butterbaugh
collective 19
contact Brand: Revisionist Photography Medium: Impressionist Fine Art Photography Location: Northfield, MN, USA Website: www.indiephotography.org Instagram: @revisionistphotography
Ian Turnage-Butterbaugh is a self-taught lens-based artist and fine art photographer from Northfield, MN, specializing in long-exposure, landscape, and impressionist photography. His photographic work is both highly technical and uniquely experimental, and focuses on revealing hidden, unseen, or overlooked elements and patterns in the world around us, which often are at the fringes of awareness. Ian’s portfolio began in 2015 and, for the first few years, mainly consisted of long-exposure and landscape photography. Fascinated by the ways in which Earth’s natural elements move in the world, Ian’s photography captures this movement in ways that reveal new textures, shapes, and moods. Exposures ranging from three to thirty minutes are used to manipulate movement and transform familiar scenes in unexpected ways: the turbulent becomes placid, the chaotic becomes serene, the mundane becomes surreal. Capturing the passage of time proves that there is much more to our environment than simply meets the eye and offers a more complete understanding of the ways in which our environment changes around us. In 2019, Ian established the Indie Photography brand. Also in 2019, Ian became interested in impressionist photography and began experimenting with contemporary photography techniques including intentional camera movement (ICM), multiple exposures, and opacity blending. What started as a special series of impressionist photographs quickly developed into a new specialty, distinct artistic voice, and separate photography brand. At the end of 2019, Ian began focusing almost exclusively on his impressionist photography and launched his second brand, Revisionist Photography. Ian’s impressionist photography is borne out of a unique creative process that incorporates multiple exposures, opacity blending, and considerable post-processing. His goal with this form of photography is to present a revised version of reality by bringing into focus the overlooked elements of our environment, which have the capacity to add so much depth, complexity, and beauty to our experiences. Each photograph is a blended composite of anywhere from 15 to 75 images of a stationary object, taken from various distances and angles across time. When combined, the transient effects of light, movement, and time, together, create a juxtaposition between the stillness and passage of time. Subjectivity, which is inherent to impressionism but often lacking in traditional forms of photography, is introduced through the spontaneity of this technique. The viewer is invited into the scene, distorted by contextual elements that compete for the viewer’s attention and offer a unique experience, limited only by what they fail to notice. Over the last year, Ian’s impressionist work has been featured in two online magazines and selected for inclusion in juried fine art exhibits at the Minnesota State Fine Art Center, Robbin Gallery, and Minneapolis Institute of Art.
www.nonamecollectivegallery.co.uk/portfolio/ian-turnage-butterbaugh
october selection challenge 21 shortlist
sophia argyrou greece
fernando rial
dominguez
Spain
lara Gallagher uk
maria alessandro italia
pinar ture gursoy turkey
pollyanna iris Philippine Islands
manon raman us
Toheebthreads nigeria
Special Guest September 2021
edited by Vanessa Rusci
Everyday rituals
bARBARA Porczynka Poland
https://barbaraporczynska.wordpress.com/ Instagram: @barbara_porczynska_art
Barbara Porczynska Born 1982. B.A. in Polish philology, M. A. in fine arts, graduated from the University of Rzeszów. Diploma with honours under the supervision of prof. Stanisław Białogłowicz. Twice scholarship holder of the Polish Minister of Science. 20 individual exhibitions, participant of more than 100 national and international collective exhibitions and plein aires. Participant of artistic projects. Winner of several artistic prizes, e.g. winner of “Vivivacolors Prize” 7th edition of the Prisma Art Prize, finalist King House Gallery 2020 Art Competition, Honourable Distinctions of The Jury and Special Awards by The Museum of Art in Miskolc / Hungary International Painting Triennial of Carpathian Region „Silver Quadrangle” 2012 and grand prix Artist Event „Belle Époque” Bad Gastein Austria 2012. She publishes in the literary-artistic journal „Fraza“. A member of Polish Association of Artists (ZPAP) and the editor in chief of Rzeszow ZPAP branch newsletter „Sztuka i Życie“ in years 2011-2018. Currently a PhD student at the University of Rzeszow. The author of the idea of MaMalarka“ („MamArtist“): a mother who struggles between art and everyday life. The documentary „„MamArtist/ MaMalarka“ (dir. K. Mazurkiewicz) about the artist undertakes this topic using the language of film
Artist statement
The professional life of a woman who becomes a mother is not the easiest. Currently, the woman’s scope of responsibilities grows to an enormous size. Her role has expanded: she has to be a heroine, idealized by handbooks, and commercials (“Skin to skin”). In effect, a contemporary woman lasts in a permanent conflict – inner – with herself and outer – striving to meet the requirements imposed on her by society. I’m interested in the topic of motherhood, everyday rituals connected with it and problems of woman-mother-artist. On the picture “Everyday rituals” I show a woman in ordinary, ugly slippers, who wants to keep the right rhythm of duties. Painting “Laocoon’s Group” show mother with her two children. The contemporary woman suffers from the permanent conflict of duties. In a multitude of activities, she constantly fights for her identity, to keep her work-life balance. The composition and expression of the painting “Laocoon’s Group” refers to the famous ancient sculpture of the same title. I am the author of the idea of “MamArtist” (in polish: “MaMalarka”): a mother who struggles between art and everyday life. The works from the “MamArtist” series are everyday objects (a pan, a pot, a cutting board, etc) as well as more traditional oil paintings. The objects which produce the background of our life. I withdrew them from everyday hustle giving them a new meaning. An ordinary object became a noteworthy artifact, raised to the rank of the artwork. I painted faces on them which are like remorse of the contemporary woman, who suffers from the permanent conflict of duties. In a multitude of activities, she constantly fights for her identity. To keep her work-life balance. The face has an assigned value. It is separated from the body and it is the matrix of thought. A mirror image of everyday rituals.
ILARIA SPONDA artist of the month
I love research, I love who dares to get out of clichés and who has something to say. Ilaria’s work intrigues me and attracts me. What are you looking for? What are you trying to communicate? I hear the language of a young photographer who is creating a new path. There is a certain grammar in her work, in the use of social networks, where I follow and meet her. There is a certain modesty in certain young photographers, they are distinguished by the talkative lack of presence ... The language changes, it is up to us to listen and “see”. Vanessa Rusci
Instagram: @ilariasponda Ilaria Sponda (Milan, 1998). She studies Arts, Performing Arts and Cultural Events at IULM University based in Milan, strongly cultivates her interest in dance, both modern/contemporary and classical and experiences her passion for underground music writing about it and shooting evocative photos at live concerts. Her photographic vocation has strengthen within the last years, when she started exploring the rational and emotional relation between herself and the inner and external world. Details and abstraction, distorted and dreamy colors are a constant with her works. Latest exhibitions and productions: “Amor Vacui” collective exhibit at Spazio Tirabasso (Milan) held by Looking for Art; “Fallimenti” collective exhibit curated by Luca Panaro at Chippendale Studio (Milan), part of MilanoPhotoWeek 2019; “Of Yourself First and Only” photobook realized at Chippendale Studio. Features: No Name Collective Gallery London Magazine, Issue No. 2.
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patrizia mori
Crossing #1
Crossing #2
Collective 20
Xanthi Toutounzoglou
Phong
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Hoàng Thanh
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michele fornaciari
Olivier De pooter
eMAAN pIRZADA
selection oCTOBER 2021
pantaleo Musarò
simon Houlton
enza la giusa
rosilene souza
challenge 2021
FRANK cAROLINA mONTENERO sTEGEN
rOSI yASMIN rOSICLER oLIVARES RICO
mAITé wAGEMANS
check out our calls and artists www.nonamecollectivegallery.co.uk
mATHIAS SAGER
Ricardo Gomes
Lacroix Elian
Francisco Bravo Cabrera
Genin Dominique
Renato Ulloa
emily shih
Fabian KÖTTL
giada Rotundo
lamarriv
Joana Dionisio
gaby Avila
arié
bensabat
Kasra Karimi
Fred Frederick Valentin
Jirah May Milano
eva Ludwig
special guest
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Art Curators Celine Flamboyant Valentine H.Hyman Vanessa Rusci Arthur Anders Karlsson
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art book back cover susan lastrina collective 19 Second backcover Jing Ren Ong collective 19
NO NAME COLLECTIVE LONDON - MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery VWorld Europe No Name Collective Magazine Mission Statement A challenge for artists. Each month we select artists who will participate in the grand final of December 2021. The winners will have space on our website, in our magazine and in our events. In each issue an interview with two of our artists and the month’s selection. We also dedicate a space to a special guest and artist of the month. At the bottom you will find the artists of our Collectives currently represented. Enjoy the reading! We are looking for talent: candidates for the Challenge on our site.
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Ong Jing Ren collective 19