Mathieu Drouet / Lisemai / Patrick Lhuiller / Mathieu Farcy / Jean Mach / Bruno Quinquet / Atelier Camino / Monsieur Qui / Leila Garfield / David Proux / Nicolas Brunet / Martin M端ller / Antoine Montagne / Brian Scott Peterson
ISSUE 111109
S U M M A R Y
IMAGINAIRE
NEW WORLD
INSIDE
WORKERS
BE DARK
TRAVEL’IN
SOMEWHERE
« ANDRÉA » Mathieu Drouet INTERVIEW of the illustrator photographer Lisemai « NYC 2000 » Patrick Lhuiller INTERVIEW of the movie director Jean Mach « LES PICARDS » Mathieu Farcy INTERVIEW of the artist Antoine Montagne « SALARYMAN PROJECT » Bruno Quinquet INTERVIEW of the ATELIER CAMINO « NIPPONIKONG » Brian Scott Peterson INTERVIEW of the artist Monsieur QUI « BERLIN AU QUOTIDIEN » (work in progress) Leila Garfield INTERVIEW of the painter David Proux « ROUTE 66 » Nicolas Brunet INTERVIEW of the artist Martin Müller
IMAGINAIRE
&
« ANDRÉA» Mathieu Drouet INTERVIEW of the illustrator photographer Lisemai
M A T H I E U D R O U E T
ANDRÉA HOW HAVE YOU COME TO SHOOT THIS SERIES ? Last Easter, I had the chance to go to Spain with a friend and her son. I hadn’t gone on holidays for a very long time. I only took my Mamiya and a few films with me; I just wanted to have some memories. When I came back to Lille, I realized I had lots of pictures and Andréa standed on most of them. Two photographs on holidays, what could you expect? WHAT IS IT ABOUT? I can’t really tell. This series is completely unexpected. But going to Spain and taking care of a kid at this precise moment of my life really made me understand how my childhood was and, above all, what I miss about it. ANDRÉA ? I’m not really comfortable with kids in general, but everything seems so easier with him. He’s so adorable. And he has a real gift for remembering all the bad words I teach him. www.mathieu-drouet.com/
L I S E M A I
INTERVIEW YOUR BLOG IS ONLINE Yes it is, at last! Its name is Dis Camion, it was born on the 3rd June 2009 and weights a hefty 150 pages visited daily on average. It’s not that much but mum is happy. A SENSE OF HUMOUR THAT DOESN’T FAIL YOU. It’s lame when you live loads of little moments that are ridiculous or funny but then don’t do anything with them. When I wasn’t yet drawing, I was frustrated that I had only a handful of friends to entertain with these stories. And then all that would be left would be a memory and a couple of private jokes. Showing these drawings and anecdotes to people means I can share, entertain, provoke, start discussions; everyone might recognize themselves or others close to them in the characters I create. I am regularly asked whether it all is 100% autobiographical. In truth, these stories come from personal anecdotes, but I am also inspired by funny stuff that happens to people I know and which I can easily imagine in a drawing. I always try to keep the whole thing quite harmless though, although sometimes a bit of vitriol splashes around. It is probably some sort of therapy, in some way. Nowadays, when crap happens in my life, I smile inwardly, thinking that I’ll soon be recycling it into a funny cartoon. It’s like, as if the best way to go through life’s bumpy ride would be through self derision and merciless mocking of oneself and others. It makes things lighter and after all we are the best there is to make fun of ourselves. WHAT ARE YOUR OTHER PROJECTS ? I want to carry on having a good time and entertain people through my cartoons and my photography (http://www.flickr. com/photos/lisemai/). Cultivate freshness, accumulate good experiences, live. www.lisemai.canalblog.com www.flickr.com/photos/lisemai/
NEW WORLD
&
« NYC 2000 » Patrick Lhuiller INTERVIEW of the movie director Jean Mach
P A T R I C K L H U I L L E R
NYC 2000 ABOUT THIS SERIES… I made it in 2000, during a brief stay in NYC between a cardiology conference in Orlando and my return flight to Paris. On that day I enjoyed this huge city instead of dozing off at the airport like other colleagues. A JOURNEY… I walked around the city with a New Yorker, who was also a photographer. I had met her as I was asking her for my way. I managed to take pictures of the places you can see on postcards or travel agency brochures. I felt like a child-photographer. It strokes me. The beauty of the city, its modernism, its singularity (like its galleries on high storeys), the pictures of my childhood that kept resurfacing (the heat in NYC.. like in Soylent Green !), the vanishing prejudices against the American, the well-being coming from walking around in a cosmopolitan city, from meeting French people that had opened their own restaurants. AN EXHIBITION… Set an exhibition means dare to show photographies of New York like in the old times, as if the photos had been taken in 1800. It also means be one of the first courageous photographers that would dare showing the Twin Towers in an exhibition. This does not aim at grieving. It aims at showing a positive, great, poetic and pictorial New York. This is MY New York of the year 2000. Exhibition : November 4th-26th 2009 Cabinet Jean-Francis Gaud - 3, rue Rossini, 75009 Paris from Tuesday to Saturday : 11h00 - 18h30 www.galeriebinome.com ou 06 16 41 45 10 Galerie Gelot, 29 rue St Paul, 75004 Paris 14h30 - 19H30 www.flickr.com/photos/26013112@N08/
J E A N M A C H
8th WONDERLAND WHY CHOOSING TO BE A DIRECTOR ? I’m a scriptwriter before anything else. But if I want my story to be properly and faithfully adapted, I need to be its director too. That’s what I understood pretty soon. I admit that I only started liking being a director when learning the job, after a couple of more or less (and rather less !) successful tries. But today, I really enjoy this part of the movie creation process. The relationships with the actors and staff, the scene building, or the tension that emerges from the set when the work is getting delayed (i.e. all the time !) are all drugs that you can’t help getting addicted too... YOUR FIRST MEMORY AS A VIEWER ? I’d say «Snow-White and the 7 Dwarfs» which I watched at a drive-in with my parents on one summer night. I enjoyed so much the magical atmosphere stemming from the movie at a time when I normally should have been to bed (it felt awesome to be up that late !). More than 30 years later, I still recall two things. My amazement when the mirror kept telling Snow-White she was the prettiest girl in the kingdom. Snow-White was certainly a nice girl, but, hell, she was ugly ! That’s why I couldn’t understand why the queen, who was more charismatic, kept bothering her ‘enemy’ instead of simply buying a new mirror that would work properly ! The fear I felt in the end when the queen turned into a witch (which made her of course a lot less attractive !) caused me a few nightmares in the following nights.
ABOUT 8TH WONDERLAND : This movie tells about the first virtual country on the Internet. This country gathers people from all around the planet who can’t stand anymore the way the world is going. And these people decide to act in the aim to change things ! I co-wrote, codirected and co-edited this movie with Nicolas Alberny. It took us three years. From the small distance I can take from it now, I’m so grateful to have worked together with such a talented technical and artistic staff. Without them and with the amount and extent of our work, we wouldn’t have been able to carry the whole project through. The movie was completed in April ‘09. We submitted it to a dozen of international film festivals yet and we already received awards in Brussels, Washington, Montreal and Tours (fingers crossed for the following ones). The movie is scheduled to be on screens in France starting January, 13th, 2010. And oh, I almost forgot ! The virtual country does exist: www.8thwonderland.com YOUR PROJETS… I have two projects as a producer and also a director. With MAD FILMS, our production company, we have in development a psychological thriller called “Men’s Insana.” It’s a coproduction with German, Belgian and Canadian film artists and they are all led and held together by our superb film director, François Gaillard. Filming will be finished late 2010. We also have in development a drama taking place during the Israeli-Palestinian war, which is a modern-day “Romeo and Juliet” story. The director is Philippe Georges André, and this film will be his very first. Filming will also be finished in late 2010. As for my projects as a director, I have the “9th Wonderland” (which follows the “8th..); the script-writing process will begin this month, whilefilming will not begin until 2011. Once again, I will be co-directing alongside Nicolas Alberny for this film. And lastly, I have a wacky comedy, a homage to Mel Brooks, with its script all having been written and with the title “Hitler on Ice.” However, I will have to come back and direct this film once I have the time! For now, I have to concentrate on my other projects. That’s whats on the schedule for now.” www.8thwonderland.com
INSIDE
&
« LES PICARDS » Mathieu Farcy INTERVIEW of the artist Antoine Montagne
M A T H I E U F A R C Y
LES PICARDS HOW WAS THIS SERIES BORN? I have always, I think, had a particular affection for the ancient. Fairytales and folk stories have always attracted me. And anecdotes. I like anecdotes, the stuff we tell as a kid that makes us shine with so much knowledge at the time. I like the homes, slow, sometimes grey but rich in memories, of the people I photograph. I like the time they have, the time they take, and the time they shared to welcome me in their home. I wanted photographed the time that passed. WHAT KIND OF WELCOME DID YOU GET? I was afraid of not being accepted and to been seen as invading people’s privacy. But in truth, I have always received a fantastic welcome! I spent much more time chatting, having a drink or a cup of coffee and speaking about the old days than making photos. The photographic act faded as I was confronted to real lives and the saddest stories. WHAT IS THE SECOND PHOTO ABOUT? It is a part of the person’s universe, a fragment of their soul, or of their love. It is also a way for me to tell a story as subjectively as possible, a story that everyone reads with their own words, giving their own meaning to the diptych. I see these photographs as tales, these stories we’ve read so many times that they have become part of us. www.mathieu-farcy.fr
A N T O I N E M O N T A G N E
INTERVIEW COULD YOU PRESENT YOUR WORK TO US? Most of these collages started from an urge to work with paper again, to manual labor. They are extracted from an exercise book which I fill regularly, a bit in the style of a personal diary. I wished to express myself freely, contrary to most of the work I do as a freelance graphic designer, for which creativity is often restrained by the marketing constraints of the customer. Every graphic designer knows that and deals with it as they can... I was also trying to do something without a computer. Every hour spent in front of the screen eats away at my brain! On this particular point I cheated a little though, because I started to scan my collages and to manipulate them with Photoshop. In the end, I am quite happy about it actually. WHAT INSPIRES YOU? Music is an inexhaustible source of inspiration for me; it shows me forms, textures, colours. I also follow the work of others. I am moreover delighted at the current craze for collage because we feed one another. Collage is not a new technique but we see at the moment many innovative things. It is a home-made craft, within the reach of all, that really allows people to express their sensibility. WHAT ARE YOUR PROJECTS? I want to do ever more beautiful collages, set up new work collaborations (with a band for instance), sharpen my language, push my creations forward, exhibit somewhere‌ I also feel like trying my hand at animation more and more. I am really interested in the clip and motion design, even if I am not familiar with the techniques. www.antoinemontagne.com www.kraftdesign.fr
WORKERS
&
« SALARYMAN PROJECT» Bruno Quinquet INTERVIEW of the ATELIER CAMINO
B R U N O Q U I N Q U E T
SALARYMAN PROJECT WHAT IS PHOTOGRAPHY FOR YOU? I started photography when I first arrived in Japan. I think that this complete change of cultural and linguistic environment required some sort of decoding structure that photography fulfilled. By creating a visual object and isolating it from the rest of the world, the photograph builds an ambiguous relationship with reality. I like this ambiguity. It enables me to keep one foot in the real world while the other steps in the world of dreams. TELL US MORE ABOUT THIS PROJECT, ABOUT THE CHOICES YOU MADE, ABOUT THE THEE AND THE PRESENTATION. The Salaryman project is a study about the unknown office clerk. Under the guise of a business diary, the series follows the Tokyo clerk through time and tries to represent what it means to be a normal Japanese man living in the mysterious business world. Beyond its social documentary value, this series is also a game of hide and seek motivated by the need to overcome, in a funny but nevertheless determined way, the growing constraints of the right to the image. WHAT ABOUT YOUR OTHER SERIES AND CURRENT PROJECTS? I am thinking about making a book out of the Salaryman project. I have other works in progress that can be seen via my website. Photographically speaking, I am interested in the city, nature, the notion of normality and the blurry boundaries between public spaces and private life. www.brunoquinquet.com/
Depuis son lancement en 1998, Actuphoto a su s’imposer parmi les media culturels consacrés à l’actualité photographique ce qui lui a permis d’acquérir la confiance des plus grands organisateurs d’événements photographiques tels que l’agence VU, Magnum photo, la Maison Européenne de la Photographie, le Jeu de Paume, Paris Photo...
LES SERVICES Aux lecteurs • Les annonces des expositions dans toutes les villes où la photographie a joué et joue encore un rôle historique • Les actualités récentes du monde de la photographie • Une sélection d’ouvrages et de parutions • La couverture des principales manifestations, festivals, colloques, rencontres, salons ou signatures… • Un accès gratuit aux alertes par email Aux photographes • L’annonce des concours, prix, bourses, appels à candidature • L’annuaire des professionnels de la photographie • Une rubrique CARTE BLANCHE mettant en avant des photographes originaux et marginaux à découvrir • Un espace membre permettant aux professionnels, amateurs et photographes d’échanger des informations et de soumettre leurs communiqués de presse ou événements
A T E L I E R C A M I N O
INTERVIEW ORIGINAL CREATIONS… L’Atelier CAMINO creates through recycling. Is recycling consuming? Recycling is observing our daily environment, our habits of consumption and waste. It’s having a second look upon discredited objects. The raw material is the inspiration. Reinterpretation, cleaning, transformation. It’s a process that makes every piece unique. A DESIGN CONCEPT… L’Atelier CAMINO creates exceptional and global decorative worlds, linked to the past and present. The contemporary Art gallery Nathalie Fiks strongly believes in this concept and inaugurates the new exhibition « PRÊT A (EM)PORTER ‘09 « , which mixes art and contemporary objects. This exhibition will take place in Paris on Pierre Fontaine 21 from December 9th to 24rth and will later become a showroom of our permanent workshop. A GLOBAL PROCESS… L’Atelier CAMINO offers respectful and made-to-measure creations such as : interior layout, event setting conception, furnitures and soon limited series. Our creations are conceived through sustainable development standards. A sustainable communication advice service is included in our creations. This is how we make the difference. We’ll open an artist’s residence in 2011 to prove our cultural commitment. For more information : www.caminobjets.com Contact : Rémi Lubin : 06 84 59 81 76 / 01 53 26 37 10 caminobjets@gmail.com
BE DARK
&
« NIPPONIKONG » Brian Scott Peterson INTERVIEW of the artist Monsieur Qui
B R I A N S C O T T P E T E R S O N
NIPPONIKONG BIOGRAPHY : Brian Scott Peterson was born in Tulsa, Oklahoma. He is the grandson of Gordon and Mary Margaret Fallis, who were editors and publishers of the Tulsa Tribune and the TulsaLite and Spotlite magazines, respectively. It was their early introduction of photojournalism and print making that first piqued his interest in photography. After attending the University of Colorado at Boulder, he traveled and photographed extensively throughout southeast and central Asia before relocating to Tokyo, Japan where he has been based since 2004. Chronicling his adventures in the Tokyo and his frequent trips to China’s main urban centers has been the focus of this recent photographic work. Using primarily traditional techniques, he exhibits frequently both in Japan and internationally. His work has been published in various local cultural magazines
ABOUT THIS SERIE‌ In the sandbox in my back yard, like most American children, I too thought that if I dug a hole deep enough, I just might end up in the Orient. The fantasies of what I might find were filled with bustling rickshaws toting red-umbrella-ed geishas, orient-silk’d emperors sitting in gold-flaked thrones in Shaolin temples, Chinese-starred ninjas battling Kung Fu samurai while their fu-man-chu mustached masters watched atop spiring greed-jaded mountain tops. When I got older I discovered my fantasies were ever so slightly askew and that getting to the orient did indeed require digging a deep hole, however a financial one, rather that a literal one. And to begin to wrap one’s head around what one might find there would require digging another type of hole altogether. My first trip to Tokyo in 2004 shared something in common with my first trip to Hong Kong the same year. They were both love at first sight (and smell, touch, taste and sound), everything from the ancient temples to the still very alive food. From a western perspective, particularly an American one, the cities are as unfamiliar and outlandish as they come. There is nothing that can be done to prepare oneself for the bombardment of peculiarities found in the open markets or down the less travelled alleys of both. With the enigmas I continue to find around every corner comes a deepening curiosity in the social and urban latticework that make up both of these unique cities. And the deeper I dig into each of the cultures and cityscapes, the more surprises I come to find, and the less I realize I actually know them. Yet, in this perpetual disorientation have I begun to recognize a reciprocity and a harmony that rings throughout Tokyo and Hong Kong, like a taut thread connected to the belly button of the orient. It is as if they are twins, fraternal albeit, separated by a sea at birth. For this recent project, I have attempted to visually elucidate my journey, the hole I have dug, through the two cities, and record the continuities and congruencies that run throughout by stacking them on top of each other on film. Opting to use multiple exposures attempts to highlight the surprises one never ceases to find. www.brianscottpeterson.com www.zokyo.jp
M O N S I E U R Q U I
INTERVIEW YOUR INSPIRATION… Street, life, old illustrators (R. Gruau, Antonio Lopez), Ernest Pignon-Ernest, punk culture, skating, fashion, old school explotation movies, animals, news, Faile, Wk interact, fashion photography, in other words, everything that is image or history… CREATION IS... Slowing down submissiveness! YOUR PROJECTS ? I have no current project. I am just starting as a professional illustrator. But I’ll go on sticking illustrations on the streets of Paris. www.monsieurqui.com
SOMEWHERE
&
« BERLIN AU QUOTIDIEN » (work in progress) Leila Garfield INTERVIEW of the artist David Proux
L E I L A G A R F I E L D
BERLIN AU QUOTIDIEN A SERIES… Which I started last April. I wanted to deal with bright colours and instinctive compositions. These photos are about my day to day life in Berlin. BERLIN, A TOWN… That’s forever on the move, building itself, which attracts artists from all over the world, with its particular brand of energy… A town that inspires me days after day. YOUR PROJECTS… I’d like to find an editor for my book « Warum Berlin« , carry on with this series and finish up the piece of installation art I’ve been working on for months now. www.leilagarfield.com/ http://leilagarfield.tumblr.com/
D A V I D P R O U X
INTERVIEW THE STRENGTH OF THE DETAILS… Take a situation. You can direct it, but if you take the time to look at it through another angle and feel what it touched inside you, then you’ll see that this reality can be really different... Taking my time allows inspiration to spring up freely; that’s why I need a few weeks or a few months for each painting. Time to experiment, time to share, time to mature and illustrate the feeling in its most simple and naive form, just like a child...and the painting just seems to create itself. I just put an element into another and sometimes various stories come up. This may be what you mean; this is where the strength of the details comes from. But if some people feel the strength, others just feel something completely different. To each their own interpretation... That’s what is so interesting : showing my work today and know what you feel about it; share my work. BETWEEN THE INNOCENCE OF CHILDHOOD AND ADULTHOOD… Yes, that’s what my paintings represent : a bridge between two states of life. They’re made of this experience, this passage and the pain that comes with it. From childhood to adulthood I mean. The ones who lived it know what I mean; the others will know when their time comes. I don’t want to loose the child in me. That’s why I illustrated these moments of my life, to create a bridge and never forget about who I really am. I don’t think that children are that naive, you know. On the contrary, I think that the older you grow, the more naive you become. But thanks for the compliment... YOUR INSPIRATION… Live, love, the other people. It seems so obvious, simple and complicated at the same time... Through the years, I felt like sharing with the other people because they become such a nice inspiration thereafter. I started with my own kids, and then adults, more or less close to me. I shared a lot with them, we had a real, true exchange. I usually start sketching by asking the person to lay her hands on the canvas. Where she wants and the way she wants to. And then we talk. Pretty simple, isn’t it? Sketching is the best way for me to share what I feel. It was king of naturally imposed. It allows me to keep a sufficient distance with the event and a certain freedom towards my feelings so I can witness the person’s history. It’s a kind of therapy through drawing. I’m working on my exhibition now. Place is still unknown but you can find all the details you’re looking for on my website : http://davidproux.darqroom.fr/gallery davidproux@yahoo.fr
Digital Photo Professional, plus communément appelé «DPP», est le logiciel de traitement d’images édité par Canon et fourni gratuitement avec tous les reflex numériques de la marque. Spécialisé dans le développement des fichiers RAW «Canon», il permet aussi de travailler au post-traitement des images JPEG et TIFF via une interface simple et des outils judicieusement choisis, faciles à appréhender et à maîtriser. Ainsi, en plus d’être le seul logiciel capable de donner accès à toute l’information contenue dans les fichiers CR2 issus des boîtiers Canon, ce «dématriceur» qui a sa place parmi les meilleurs du marché est un formidable outil d’apprentissage du traitement des fichiers RAW pour les photographes qui travailleraient pour la première fois avec un logiciel de développement. Cet e-book est le tout premier titre en langue française entièrement dédié à DPP. Après une présentation des principales fonctionnalités du logiciel et un rappel des notions essentielles à un traitement d’images maîtrisé (exposition, luminosité, histogramme…), il propose une découverte par la pratique des points forts du logiciel à travers une vingtaine d’exemples concrets détaillés pas à pas.
TRAVEL’IN
&
« ROUTE 66 » Nicolas Brunet INTERVIEW of the artist Martin Müller
N I C O L A S B R U N E T
ROUTE 66 YOUR INSPIRATION… I guess I just felt like going away, getting some space, without any preparation. I just wanted to be led and not lead, so I could really dive into this atmosphere. A MYTHICAL JOURNEY… It’s mythical and integrated in our memory by so many movies and documentary films. On the « mother road », your recognize very quickly all the stereotypes that gave life to this myth : the crossing of desert areas, the old motels and their neon signs, gas stations and garages from the 50s or 60s, bearded bikers on Harleys... THE AMERICAN DREAM... To me, it comes from the impression of freedom. The land stretches in such a breathtaking way. You hardly meet someone on dozens and dozens of miles. You feel so free. www.nicolasbrunet.fr
M A R T I N M Ü L L E R
INTERVIEW YOUR ARTISTIC BACKGROUND… I started my artistic career 29 years ago with a solo exhibition of early photography and mixed media works. After this first ‘coming out’ I decided to intensify my knowledge of the theoretical part of art and culture and I studied history of art, philosophy and German literature at the University of Cologne. In 1988 I received a M.A. and finished the studies in 1993 as PhD. Parallely I worked as painter and graphic designer in Cologne and funded my studies with it. After this I ‘invented’ and managed an innovative museum project called ‘PAN kunstforum’ for 13 years and was its director until 2007. And created also a lot of painting, mixed media work and design during that time. For two years then I was Visiting Professor of the School of Art and Design at the University of Derby (UK). This year I worked as curator of several projects, among others for the ‘Ostrale`09’, a huge international art festival in Dresden. Of course in all these curated projects I have exhibited my own art as well. So finally there is no border between the different fields of my work in theory, management and artistic production.
YOU MIX SEVERAL MEDIUMS : PAINTING, WRITING… Yes, it’s the same story as mentioned before. There are no borders even within the specific fields. In my paintings, the mixed media pieces or the digital prints you can always find several layers of visualization, technique and meaning. Within one piece there are realistically painted, drawn or printed images as well abstract and gestural elements and written quotations or notes whereas the written word represents both language and drawing. All these elements and layers are not merged with each other but stay autonomous. So the eyes, the mind and soul of the viewer are permanently oscillating between the different layers of visualization, gesture and meaning. The whole is more than the sum of its parts. YOUR CURRENT PROJECT… One of my current curatorial projects is the next ‘Ostrale´010’ in Dresden. In the meantime I am member of the festival’s managing board. My current art project is called ‘ not from here’. The project is designed as a work in progress. “not from here” deals with the different aspects of intercultural perception and understanding. A German artist who lives in Berlin and has never been in New Zealand systematically tries to express as a painter and drawer his personal view on New Zealand, its cultural heritage and contemporary practice, “from the outside”. There are three project phases which represent both the technical realization and the intellectual and physical approach. Phase 1 consists of 60 digital prints realized in Berlin. Phase 2 consists of 30 mixed media pictures on paper as well realized in Berlin. Phase 3 finally consists of 15 paintings, each 200 x 300 cm, realized during a 5 months artist in residency in NZ. In conclusion the project shall be shown as a whole afterwards in the Centre of Contemporary Art (COCA) in Christchurch for the first time. Right now a preview of some of the digital prints can be seen as part of a solo exhibition of my poster art in the AEP in Hamburg until the end of December. www.heyoka.eu
Have participated to this issue : LAURENCE GUENOUN - PUBLICATION DIRECTOR / AD CARINE LAUTIER - EDITOR IN CHIEF CANDICE NGUYEN - COMMUNICATION & ADVERTISING +33 689 921 043 JÖRG FISCHER - GRAPHIC DESIGNER / AD MATHIEU DROUET - WEBMASTER ÉRIC BATTISTELLI - JOURNALIST CHRISTOPHE DILLINGER - TRANSLATION VANESSA COQUELLE - TRANSLATION ERIN KIM - TRANSLATION VÉRONIQUE DE LAUNAY – FRENCH CORRECTOR Eva Moreno López - PHOTO COVER Thanks for their help and support to : BENOIT MARTINEZ www.ensp-arles.com FREDERIC HIARD www.virusphoto.com ANTONY BARROUX www.pixfan.com CEDRIC DUMENIL www.unjourunsite.be
Plateformag Copyright 2009 All rights reserved © All the pictures, photos published on Plateformag are property of their respective authors.