SHOOT ME Magazine ISSUE #30_OCT_015

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PAUL SOLBERG TEN YEARS IN PICTURES



Shoot me /ʃuːt

1. hit me with a bullet

mi/

2. take my picture

3. throw me out of a canon, hit me with your arrows and help me discover a new side of me (an artistic side) 4. kill my old self,

Art revolving /ɑːt

revive me.

rɪˈvɒlvɪŋ/

1. swirling art 2. the ever-rotating art. rotating around itself, around me, across the universe.

3. the art that never seizes.


2015,  ATHENS  /  GREECE shootmemag.com publisher_artdirector

ISAVELLA   MAVROYIANNI creative@shootmemag.com publisher_webadmin

JAD   McMEOLA web@shootmemag.com contentcoordinator

GERASIMOS   PAGONIS coord@shootmemag.com c u l t u r a l e d i t o r

KATERINA   XIDAKI culturaled@shootmemag.com c o p y e d i t o r

IRO  JAGUAR copyed@shootmemag.com

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© SHOOT ME Magazine | 2013-15 | CONTENT  OF  THIS ISSUE IS  COPYRIGHTED BY THE FEATURED ARTISTS AND CANNOT BE USED WITHOUT THEIR WRITTEN PERMISSION


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“C O N T O R T I O N , 2 0 1 0” From Paul Solberg: Ten Years in Pictures by Paul Solberg copyright © 2015, published by Glitterati Incorporated www.GlitteratiIncorporated.com


46 Julija Goyd

76 Robert MacNeil

92 Pietro Basoccu

124 Ilka & Franz

136 Claudio Menna


10 Joel-Peter Witkin:

The World Is Not Enough

12 In and Out of the Studio:

Photographic Portraits from  West Africa

22 Bruce Gilden:

American Made

28 Paul Solberg:

Ten Years In Pictures


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NOW or never E n j o y   o u r   # 3 0 t h

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galerie hiltawsky, Berlin

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S e p . 1 7 . 2 0 1 5

Joel-Peter Witkin: The World Is Not Enough

w w w . h i l t a w s k y . c o m


Joel-Peter Witkin | Histoire du Monde Blanc - Venus a la préférence de Christ | Paris, 1997 | © Joel-Peter Witkin | courtesy galerie hiltawsky


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George A. G. and Albert George Lutterodt (Ghanaian, active from 1876) Five Men, ca. 1880-5 Albumen silver print from glass negative 6 x 4 in (15.2 x 1.5 cm) Purchase, Ross Family Fund Gift, 1999 (1999.184.1)


I n  a nd Out of  t he  St ud io : Photographic Portraits from West Africa  100 years  of portrait photography in West Africa by Katerina Xidaki

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The Metropolitan Museum of Art in New York presents, from August 31 to January 3, the history of portrait photography  in  West  Africa  from 1870 to 1970, in a group exhibition under the title ‘In and Out of the Studio:  Photographic  Portraits  from West Africa’.  When photography arrived in Africa in the 1840s, local artists and studios  began  adapting  the  new medium according to preexisting visual codes and traditions of portraiture. West African, African-American and  European  photographers  were taking  photos  for  elite  families  all along  the  Atlantic  coast  by  the 1880s, while by the 1920s several West African city centers had established studios, as photography had been widely adopted as a medium of portraiture. Between the 1950s and the  1970s,  when  several  countries passed  from  the  colonial  status  to independence,  photography  expanded beyond the cities serving its new clientele, the rising middle class that was influenced by popular magazines  and  films  from  Europe,  the United  States,  North  Africa,  and India.  Photography  eventually  became  among  the  most  consumed media.

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Unknown Artist (Senegal) Portrait of a Woman, ca. 1910 Glass negative 6 x 4 in (16.5 x 11.4 cm) Gift of Susan Mullin Vogel, 2015


16 Seydou Keïta (Malian, 1921/23 – 2001) Reclining Woman, 1950s-1960s Gelatin silver print, 1975 5 x 7 in (13 x 19 cm) Gift of Susan Mullin Vogel, 2015 ©Keïta/SKPEAC


“When you’ re a photographer, you always have to come up with ideas to please the customer. My experience taught me the positions that my customers liked best. You try to obtain the best pose, the most advantageous profile, because photography is an art, everything should be as close to perfection as possible” -Seydou Keïta

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Featuring nearly 80 artistic samples – photographs,  postcards,  real photo  postcards  and  negatives  many  of  them  shown  for  the  first time, the exhibition presents works by  amateur  and  professional  photographers, taken inside and outside the  studio.  Some  of  the  artists  in this  group  exhibition  are  renowned beyond  Africa,  such  as  the  selftaught  Malian  Seydou  Keïta,  who with  his  photographs  created  the myth of Bamako as a cosmopolitan city,  the  Nigerian  J.  D.  'Okhai Ojeikere  with  his  photographs  of subjects  with  intricate  hairstyles and the Cameroonian Samuel Fosso with his extravagant self-portraits in different  costumes.    Both  Ojeikere and Fosso investigated the limits of portrait  photography,  questioning the  distinction  between  sitter  and photographer,  document  and  artwork, reality and fantasy. The work of  lesser-known  artists,  such  as George A. G. Lutterodt from Ghana, the Lisk-Carew Brothers from Sierra Leone,  and  Alex  A.  Acolatse  from Togo, will also be on display.

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This  exhibition  uses  a  variety  of artistic examples to help us understand West African portrait photography and the depth of the medium in expressing the complexity of this portraiture.  It  is  divided  into  seven titled sections: ‘Pioneers of Photography’, ‘Postcards’, ‘Amateur Practices’, ‘Studio Practices in Senegal’, ‘Malick  Sidibé’,  ‘Seydou  Keïta  and Oumar Ka’, and ‘Studio Practices in the 1970s’. All the works of the exhibition  are  drawn  from  the  Metropolitan  Museum’s  Visual  Resource Archives  in  the  Department  of Africa, Oceania, and the Americas, with additions from the Department of Photographs.


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Oumar Ka (Senegalese, b. 1930) Man Standing in a Courtyard, 1959-1968 Inkjet print, 2015 Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas


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Unknown Artist (Senegal) Two Girls, Indoors, ca. 1915 Gelatin silver print from glass negative, 2015 2 x 3 in (5.7 x 7.6 cm) Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas


The Metropolitan Museum of Art 1000 Fifth Avenue New York 10028-0198 212-535-7710 www.metmuseum.org Opening hours Sunday–Thursday:  10:00 a.m.–5:30 p.m.,  Friday and Saturday:  10:00 a.m.–9:00 p.m.

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BRUCE GILDEN: AMERICAN MADE  Capturing street moments, creating characters by Katerina Xidaki

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“I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images I live with them. At the same time, they are symbols” -Bruce Gilden


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Bruce Gilden | Donna, a card dealer. | Las Vegas, Nevada, USA. © Bruce Gilden/Magnum Photos


Bruce Gilden | 13 foot albino python in the Bottoms neighbourhood. | Columbus, Ohio, USA. © Bruce Gilden/Magnum Photos

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Leica Fotografie International (LFI) presents, from September 10 to October 28, the exhibition of the famous American street photographer, Bruce Gilden, under the title ‘American Made’, at LFI's exhibition space in Hamburg.  Bruce Gilden, who is considered one of the most polarising American photographers, is best known for his harsh but at the same time candid close-up photographs of people who live on the margins of society, outside of socially accepted norms, using a flashgun. Growing up in Brooklyn, Gilden was fascinated by the life of the streets, the energy, the people… He dedicated his photographic career in capturing street moments and ‘characters’, creating his unconventional personal style.  Bruce Gilden was born in 1946 in Brooklyn, New York and he studied sociology at Penn State. In 1968 he was so influenced by Michelangelo Antonioni's film ‘Blowup’ that he bought his first camera and he started studying photography at the School of Visual Arts of New York. His career in photography had just begun. His first major project focused on the sensuality of the bodies of the people at Coney Island, the famous Brooklyn beach. He has photographed people on the streets of New York, Japan's yakuza mobsters, homeless people, prostitutes, and members of bike gangs  between  1995  and  2000.  He  has  also  photographed  rural  Ireland  and horseracing there, as well as voodoo rituals in Haiti. Gilden has been a member of the legendary Magnum photo cooperative since 1998. He has published numerous books with his work, he has exhibited widely around the world and has received numerous awards, including the European Publishers Award for Photography, 3 National Endowment for the Arts fellowships, and a Japan Foundation fellowship.

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Gilden’s most recent series, ‘Faces project’, is the result of an interaction moment between him and the people he is photographing, people who lives on the margins of society. This time he got so close up to his protagonists that he first asked them for permission before taking their picture. An extreme project, made with absolute sincerity, that reveals the ‘scars’ that life has left on the people who were not able to live the American dream. The outcome is ‘American Made’, a project that Leica Camera and the Leica Fotografie International (LFI) S Magazine have been following in the USA for a year.  On display will be 6 brand new, large-format, color photographs that Gilden took during his 40 day trip throughout the United States. They are part of the famous ‘Postcards from America’ Magnum project.

LFI Photographie GmbH Springeltwiete 4  D-20095 Hamburg +49 40 226211280 www.lfi-online.de

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Unknown Artist (Senegal) Two Girls, Indoors, ca. 1915 Gelatin silver print from glass negative, 2015 2 x 3 in (5.7 x 7.6 cm) Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas


27 Bruce Gilden | Minnesota State Fair. Minneapolis, Minnesota, USA. © Bruce Gilden/Magnum Photos


PAUL SOLBERG

T EN  Y E A RS  I N  PI C TU R ES

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everywhere. �Cameras Electricity blazing.

Everyone is taking pictures, but few are looking through a viewfinder

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Philippe Petit, 2008


Over  time,  we  build  an  elaborate  universe  of experience.  What’s  in  front  of  us  is  already behind  us.  Here  becomes  there.  We  turn around  and  this  moment  falls  into  the  distance. We recall amorphous shapes more than the details hovering in the shadows. Clusters of  memory  huddle  together-  the  dim  and  the bright - waiting to be ignited. Shifting, twisting collages  color  our  past.  To  cope  with  this trickery of time, we use religion, medication, money and reproduction. A t   o u r   b e s t ,   w e   u s e l o v e . The camera is another way to calm the anarchy  of  time.  To  wrestle  one  moment  to  the ground and quickly put it under glass. The objective is not always to take the best picture, but  to  preserve  one  of  the  many  moments lost.  To  freeze  the  microbes  of  memory  that hang on each picture. A particular cloud or the crackling of a glacier. It’s a selfish intent, to take pictures as a memory bank, but it places feeling above perfection, avoiding the deception of the photographer’s eye. Cameras  everywhere.  Electricity  blazing. Everyone is taking pictures, but few are looking through a viewfinder. We’re pleading with ourselves that we exist, our senses in spasm. We’re in the prequel of space tourism, while here on earth, connection and disconnection seem  the  same.  People  have  grown  accustomed  to  posing  on  cue,  and  portraiture  has become  more  challenging.  In  the  ten  years these pictures were taken, there were years I was  more  interested  in  clouds,  objects,  or flowers. In some places, however, people still look  into  the  camera  with  startling  honesty. Vietnam. Spain. Navajo Nation. And still, Manhattan. Thank  you,  people  on  and  off  the  street,  for being open in this guarded world. We shared a moment before you flew off into the mind’s universe. Paul Solberg, NYC February 2015

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Hoi

An,

2009

In the last 10 years, Vietnam is one of my favorite places. The people- rich or poor- are gentle and elegant, with the better attributes of humanity. Coming out of the last Century ’ s American footprint in Vietnam, today there is all forgiveness and renewal.

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Hoi An, 2009


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Cheese Farmer, 2013


Cheese

Farmer,

2013

Living in Manhattan my favorite thing is to see n o t h i n g b u t s p a c e . One of my favorite things is a car trip through Cowboy Country, USA. In the middle of the Utah desert, we saw a small sign off the big open road, “ Cheese for Sale ” . Inside was this elegant gentleman (pictured) who had built an elaborate cheese cave 30 feet deep, in a part of the world not known for its culinary proficiency. This Cheese Maker works and cares for a new widower, a 70 year old man, who makes the bread. So the two men, sit on the porch, and talk to us, about cheese, and bread, i n t h e m i d d l e o f b e a u t i f u l “ n o w h e r e ” .

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Empire

State,

2006

New Yorkers, we love this building. Although, intimidating to photograph. With all the great pictures from photographer Lewis Wickes Hine, capturing the drums and grit of the period. The workers hanging off its highest peak, capturing some of the most iconic American symbolism. This monolith rising out of the Great Depresssion and into the clouds, in an unprecedented one year and 45 days. F. Scott Fitzgerald, whom shares my birthplace of St. Paul, Minnesota, exemplifies the w o n d e r o f t h e c r e a t i v e y o u t h d r a w n t o t h e c i t y . In 2006, when I saw this building too beautiful to photograph, diffused by the construction of the new West Side Highway park project, it was my attempt, m y t r i b u t e .

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Empire State, 2006


21st

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Century

Wyeth,

2009


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21st Century Wyeth, 2009


Under

Horse,

2009

I took this picture laying between the four legs of this horse. In my youth I was dragged by a horse after it hit a bees nest, and went flying. I had one leg in the stirrup and was flung around like a rag-doll. So it was 30 years later I cautiously introduced myself again. Now, one of my favorite things to do is l a y i n t h e g r a s s a m i d s t h o r s e s , and have them walk around me.This was one of those occasions.

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Under Horse, 2009


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Contortion, 2010


Contortion,

2010

There is a magic when you get a chance to photograph someone in mid-air. The body in acute tension and relaxation. That paradox gives the p e r f e c t c o n t r a d i c t i o n . This is the acclaimed dancer, Manuel Vignoulle, who floats in front of the camera.

43 PAUL SOLBERG

TEN YEARS IN PICTURES Essay by Jose Guirao  © 2015,

published by Glitterati Incorporated www.GlitteratiIncorporated.com

For more information, visit www.paulsolberg.com


your image goes here!


submit your work + be a part  of our ongrowing  family of artists submissions@shootmemag.com


Ma n  in   a f o re s t ©

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Julija Goyd


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© Julija Goyd


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© Julija Goyd


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© Julija Goyd


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© Julija Goyd


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© Julija Goyd


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© Julija Goyd


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© Julija Goyd


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Semi-abstract idea of a man in nature is reduced to minimal with its essential means: light and dark.

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75 © Julija Goyd


sp i n

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Robert MacNeil


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© Robert MacNeil


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© Pietro Basoccu

c lo se d

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Pietro Basoccu

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© Pietro Basoccu

The  project  is  realized  in Ogliastra, a small province in  the  east  of  Sardinia, made  of  a  small  precious land  and  of  a  few  inhabitants  that  during  the  time have  isolated  a  nuraghic DNA and today it is an object  of  international  studies.  In  fact,  Ogliastra  is the  genetically  closest place  to  that  of  3000 years ago. In this land, industrial dreams were born and died,  they have changed the territory  from  the  anthropology, economic, scenery, environmental  and  social  points  of view.  Factories  in  a  desert land that have crumbled lives and  left  in  agony  a  whole community.

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© Pietro Basoccu


A s d um b w i t n es se s o f an a ba n do n ed i nd u st ria l p r oc e ss , sk el eto n s wi t ho u t n a m e s, wa r eh o u ses , ma ch i n e ry a n d h ea ps o f b ro ke n g l a ss es r ema in, whi l e ou r mo u n ta i n s ar e w at ch i n g o v er t h em .

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© Ilka & Franz

m es sy f oo d ©

Ilka & Franz

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Abo u t a  bo y   another (extra) ordinary story  ©

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Claudio Menna


© Claudio Menna

Every day G. stands on a bench in the garden of the Institute in which is guest

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© Claudio Menna

Inside the institute for kids with visual and psycho physical pathologies G. loves walking alone, even in those rooms not in use, in the darkness.

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© Claudio Menna

G. shows me an old pictures who represents himself during his childhood.

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© Claudio Menna

His daily life is always in balance between anger and stillness.

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© Claudio Menna

G. and his lovely dog “ Lucky “.

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© Claudio Menna


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© Claudio Menna

When G. rests on the bench in the Institute garden, he loves to hold in his hands flowers telling me it remember him of his mother.

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© Claudio Menna

A night view of the comrade where the “guest” of the Institute sleep.

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G. loves take pictures with his digital camera, expecially when there’s sun and blue sky.

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© Claudio Menna


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© Claudio Menna


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© Claudio Menna


G.’s  mom is really sick but in spite of everything they help each other in all their daily issues. His mom fights everyday against her son’s disease who lets him sometimes mentally unstable and aggressive.

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© Claudio Menna

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When G. is in a difficult day, often he injures himself cutting his wrists or punching the glass wall in his house.


© Claudio Menna

His battle is hard and strongbut G. knows he can fight it although his disabilities with the help of his family and his friends.

G. is a special boy, but his story is one like many others, the story of G. is nothing more than one more (extra) ordinary story. 174


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