SHOOT ME Magazine ISSUE #34_OCT_016

2016, ATHENS / GREECE shootmemag.com

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© SHOOT ME Magazine | 2013-16 | CONTENT OF THIS ISSUE IS COPYRIGHTED

BY THE FEATURED ARTISTS AND CANNOT BE USED WITHOUT THEIR WRITTEN PERMISSION

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Cover By MAREN ELIZE KLEMP "Isolated" www.marenklemp.com

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Mitar Terzic

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Maren Elize Klemp

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Paolo Bastia + Luca Fortini

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ALONE TOGETHER The Hilton Brothers

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ALICE SPRINGS The MEP Show

HELMUT NEWTON

Yellow Press

MART ENGELEN Portraits

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ARLENE GOTTFRIED

BREATHE IM A G E S EXHALE FEELINGS

10 September - 31 October 2016 Palazzo Cozza Caposavi Bolsena, Italy

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ALONE TOGETHER Works by

Christopher Makos, Paul Solberg,

The Hilton Brothers

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The Hilton Brothers | "Spring", 2007 | from the series Conscience Courtesy of artists Š the Hilton Brothers

"Alone Together", the newest show by New York based photographers Christopher Makos and Paul Solberg, opened September 10th, 2016 at the historic Palazzo Cozza Caposani (c.1561) located in the medieval town of Bolsena, Italy.

With some 50 works by Makos and Solberg and their shared art identity, The Hilton Brothers, the unique Palazzo is an effective counterpoint to the works of these two contemporary New York artists. 16-Century meets 21st Century, interacting playfully-to-poignantly through the 3 floors of the exhibition.

One example of this synergy of art and venue is We the People (2014), the Hilton Brothers recent series where they explore China/United States parallels, all residing in the stage setting of the palazzo's opulent Oriental Room. "Our work juxtaposed in this jewel of a palazzo, it was an immediate Yes", the artistic duo proclaim. "It's the perfect stage setting full of connection and contradiction, which thrills us".

Other works exhibited include examples from: Andy Dandy (2007), a portfolio based on Makos' legendary Altered image (1981) series paired with Solberg's flower portraits from Bloom (2005), Service, (2010), Solberg's ghostly portraits of military youth, and the Hilton Brothers' Truth (2006) & Conscience (2007), portfolios inspired by icons of Western European classical sculpture.

It's an intimate window into two contrasting solo careers and their interwoven 12-year collaboration. Alone Together is a selection of works both on and off-road, spanning 4 decades for one artist, and just over a decade for the other. The result is a compelling tapestry of both imagery and time, which seems created only for this particular venue. "Bolsena has such rich artistic earth", says Solberg + Makos. "From the Etruscans right up to the Arte Povera movement of the 60's, the spirit of Cy Twombly, Enrico Castellani, and Robert Rauschenberg still echo through the caves."

The Hilton Brothers (2004) a Makos+Solberg conception is derived from the 1930's Siamese-twins vaudeville stars, the Hilton Sisters. These visual storytellers explore the freedom and parameters of collaboration, a shared language spoken through their pictures and collage. Blurring and fusing two disparate styles, each of their collaborative works subtly commenting on the world today, or escaping from it, through their images around the globe. Their most notable works are in the series, "Speed" (2006), "Andy Dandy" (2007), and :Narrative" (2009) and "Conscience" (2007). They share numerous publications, such as Mistaken Identity (2009) and their opus, Tyrants + Lederhosen (2011). Their work has been exhibited internationally in museums and galleries, including La Casa Encendida (Madrid), Galerie Catherine Houard (Paris), Galerie Sho Contemporary Art (Tokyo), Christopher Henry Gallery (New York), Karl Hutter Fine Art (LA), and NSU Art Museum. thehiltonbrothers.com

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The Hilton Brothers | "Andy Dandy, Seven", 2007 | from series: Andy Dandy | Courtesy of artists Š the Hilton Brothers

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Christopher Makos was born in Lowell, Massachusetts, grew up in California, and moved to New York City after high school. During the 1970's and 80's, Makos traveled frequently with good friend and frequent portrait subject Andy Warhol. Makos works such as the Altered Image series (1981), along with the photos collected in Makos/Warhol (1987), are widely viewed as forming that era's most complete and compelling photographic record of Warhol and his milieu. Makos' works have been exhibited at galleries and museums worldwide, including The Guggenheim Museum, Bilbao, The Tate Modern, London, The National Gallery, Washington, D.C., The Whitney Museum of American Art, and The Brooklyn Museum, New York. His work is in the permanent collections of The IVAM in Valencia, Spain, The Reina Sofia Museum, Madrid, and the National Portrait Gallery, Washington, D.C. His pictures have appeared in magazines and newspapers including Paris Match, Esquire and the WSJ Int'l, and the NY Times. He is the author of numerous books, including White Trash, (1976), In Context (2007), Andy Warhol China 1982 (2007), Christopher Makos Polaroids (2009) and Everything: The Black and White Monograph (2014). makostudio. com

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Paul Solberg studied Anthropology at the University of Cape Town, and traveled extensively through Bophuthatswana, Namibia, and South America before moving to NYC in 1996 from his native Minnesota. Solberg began his photographic career with his first published book, Bloom (2005), following Puppies Behind Bars (2006), Tyrants + Lederhosen (2011), Tattoos, Hornets & Fire (2012), and the monograph, Ten Years In Pictures (2014). First known for his acclaimed still life portraits, the same depth is seen in his human subjects, such as the portrait of Ai Weiwei (2008), and in his haunting portraits of the Armed Forces, in Service (2010), which resides in such collections as the Elton John Photography Collection. Solberg's photographs have been published in Publisher's Weekly, Le Figaro, CNN, L'Oeil de la Photographie, Interview Magazine, WWD, WSJ Int'l, Conde Nast Traveler, The Huffington Post, and New York Daily News.

Solberg's work has been exhibited internationally in museums and galleries, including: La Casa Encendida (Madrid), Subte Museum (Montevideo), Galerie Sho Contemporary Art (Tokyo), Galerie Hiltawsky (Berlin), Karl Hutter Fine Art (LA), Casa de Costa (NY), Peter Marcelle Project (NY) and Galerie Catherine Houard (Paris). Solberg lives in New York City. paulsolberg.com

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The Hilton Brothers | "Kelly Klein Jazz", 2005 | from series: Hippofolium | Courtesy of artists Š the Hilton Brothers

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The Hilton Brothers | "Andy Dandy, Eight", 2007 | from series: Andy Dandy | Courtesy of artists Š the Hilton Brothers

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The Hilton Brothers | "Courage", 2006 | from series: Truth | Courtesy of artists Š the Hilton Brothers

Palazzo Cozza Caposavi - declared a national monument and part of the Italian Historic Houses Association - was erected in 1561 by Cardinal Tiberio Crispo to use it as his personal home, but he lived there only a year . The locals were annoyed by his arrogance, and removed the cardinal Tiberio from the office of Governor of the Patrimony of St. Peter. At that time the building was divided into two different buildings: the one towards the castle became the property Cozza while that towards the Medici fountain became the property Caposavi. vescontebnb.com

21 PALAZZO COZZA CAPOSAVI, Mr. Francesco Vesmile Tel: +39 3428530373

francescoves@gmail.com

ALICE

SPRINGS:

T H E M E P S H O W

HELMUT

NEWTON:

Y E L L O W P R E S S

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MART P

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Helmut Newton, Yellow Press, Big Zipper II, Milano, 1988 Š Helmut Newton Estate

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June - 20 November 2016 Helmut Newton Foundation

On 1 June 2016, the Helmut Newton Foundation in Berlin opened its summer exhibition. The title of the upcoming exhibition, Alice Springs: The MEP Show l Helmut Newton: Yellow Press l Mart Engelen: Portraits, unites not only three photographers, but also three different photographic approaches.

Since 1970, June Newton, widow of the legendary photographer of fashion and nudes, has also worked as a photographer, under the pseudonym Alice Springs. She and Helmut Newton have frequently exhibited their works together, especially their joint project "Us and Them". In 2010, the first Alice Springs retrospective was hosted at the Helmut Newton Foundation; now,

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her second retrospective, organized in 2015 by the Maison EuropĂŠenne de la Photographie (MEP) in Paris, will also be shown in Berlin and accompanied by a book published by TASCHEN. In more than 100 portraits of her fellow photographers - including Richard Avedon, BrassaĂŻ, Ralph Gibson, and of course Helmut Newton - as well as other celebrities such as Nicole Kidman, Audrey Hepburn, Christopher Lambert, and Claude Chabrol, Alice Springs succeeds in capturing not only the look of the represented, but also their aura. The wordless dialogue that leads to such extraordinary portraits seems to stem from a kind of spiritual kinship. Intense portraits in both black & white and color are complemented by an expansive series of

street photographs shot along Melrose Avenue in Los Angeles, where Alice Springs attentively documented California's developing punk and hiphop scenes in the 1980s. Anarchic youth culture, at times characterized by radical hairstyles and shrill body piercings, rejected the notion of capitalist society. Only a few years later, this musically and fashionbased protest movement in California subsided. What remained of it is the artistic inventory now on exhibit, where he punks posed and the photographer directed. The images exude a sense of empathy for their human subjects, and it is the noticeable mixture of rapport and curiosity that continues to make the work of Alice Springs interesting today.

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Alice Springs, Malibu, 1983 Š Alice Springs

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Alice Springs, Helmut Newton with Lisa Lyon, Venice, California, 1981 Š Alice Springs

Helmut Newton worked not only for fashion magazines and fashion designers. He also nurtured an interest in offbeat subjects, paparazzi pictures, police photography, and crime stories. In short, for "yellow journalism", a mix of tabloid press and articles from the "Miscellaneous" section of daily newspapers. The eponymous exhibition "Yellow Press", which was compiled and first presented by the photographer himself in 2002 at his former gallery in ZĂźrich, is an eclectic mix culled from works realized between 1973 and 2002. It includes several photo series that were never previously published in Newton's books,

for example his series "Self-Appropriation", a nude series about "Lolita" for Playboy Magazine, and a documentation of court proceedings in Monaco that he shot for Paris Match.

The enigmatic, 18-part black & white series "The Woman on Level 4" is, however, about a young woman that Newton photographed in a small, windowless room. She is nude, at times, or wearing a semi-transparent bra with her eyes covered over, posed holding a gun, or clad in a dark leather jacket.

Taken together, the series is a kind of a visual detective story, without a beginning or end. Many of the motifs we

encounter here would not customarily be associated with Helmut Newton, allowing them all the more to enrich the general image we have of Newton and his work. Because these images comprise the last series that was selected by the photographer himself, "Yellow Press" is tantamount to a kind of legacy. Newton's short promotional film for the Italian zipper manufacturer Lanfranchi from the 1980s can also be seen, along with Polaroids that Newton took of this film being shown on a monitor, as a form of appropriating his own work. Together, the film and the Polaroid images paraphrase a sadomasochistic fantasy.

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Once again, Helmut Newton's wish to invite a photographer to exhibit in "June's Room" will be posthumously fulfilled: Amsterdam-based photographer Mart Engelen will show more than 20 black & white portraits from the contemporary cultural scene, inspired in part by French film noir and including the likes of writer Michel Houellebecq, visual artists Gilbert & George and Julian Schnabel, director John Waters, and actor Willem Dafoe. Engelen came to photography in his early twenties; ten years later

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he launched his career as a freelance photographer with a series of commissioned works for Philips and Canon, as well as for magazines such as "Esquire" and "Vanity Fair". Since 2009 he has published the exclusive photography magazine #59, which includes many of his own photos in each issue - an interesting link to Helmut Newton, who likewise published the large format magazine "Helmut Newton's lllustrated" from 1987 to 1995. Engelen has taken his photographs of the beautiful and rich

in their own apartments or studios, at the Venice film festival, and after art openings. The photographic situations are thus quite different from official portrait sittings: the approach is usually quick and spontaneous - and in this respect similar to that of Alice Springs. And even though the composition could be described as traditional or classic, there is something special that stands out in Engelen's visual depiction of his subjects, something that the experienced recipient can feel, but not always express in words.

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Helmut Newton, The Woman on Level 4, I, Monte Carlo, 2000 Š Helmut Newton Estate

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Mart Engelen, Willem Dafoe, Amsterdam, 2012 Š Mart Engelen

31 HELMUT NEWTON FOUNDATION JebensstraÃ&#x;e 2 10623 Berlin Tel.: +49 (0) 30 318 648 56 www.helmutnewton.com

SA VE THE DA TE

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George Barris Marilyn Monroe Santa Monica Beach, 1962 © George Barris Courtesy: galerie hiltawsky

MARILYN MONROE 90th Anniversary.

A Life in Pictures O P E N I N G Thursday, 3 November 2016, 7 - 10 p.m.

D U R A T I O N 4 November 2016 - 14 January 2017 L O C A T I O N galerie hiltawsky, Tucholskystrasse 41, 10117 Berlin

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ARLENE GOTTFRIED 10 September - 8 October 2016 Hardhitta Gallery Culver City, USA

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Arlene Gottfried | Snake Charmer Š Arlene Gottfried

Hardhitta Gallery is delighted to present the first solo show of American photographer Arlene Gottfried (*1950) in Los Angeles, in cooperation with Bruce Lurie Gallery. The exhibition will show 25 cibachrome and silver gelatin prints taken throughout the city of New York and its surroundings between 1970 and 2006.

Born in Brooklyn, Gottfried took her first photographs in 1969 at the legendary Woodstock Festival; capturing unusual and striking moments would become her trademark. Always drawn to the diverse communities she knew while growing up, Gottfried went on to document the vast diversity of New York City. Beginning with Coney Island and Crown Heights, she expanded her radius to the Lower East Side, Spanish Harlem, and then to other regions of the United States.

Arlene Gottfried depicts her fellow New Yorkers with intimacy and valiance, revealing fascinating portraits of people who seem to operate outside of conventional rules and assumptions. For one photograph, a nude bodybuilder posed next to a Hasidic man and proudly announced, "Take my picture with him; I am Jewish too." Elsewhere a man was sunbathing on a lounge chair in the middle of the West Side Highway, or a boy grinning in the freezer of a butcher's shop in Boston. Through her special blend of the personal with the peculiar, the photographer forges a profound connection with her subjects, and draws viewers into remarkable and surprising situations. Today, the artist is looking back onto a photographic journal spanning more than 40 years - soulful and emotionally charged, wild and crazy, nostalgic and touching. Gottfried lives and works in New York. (More at http:// www.arlenegottfried.com/)

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Arlene Gottfried | Communion Š Arlene Gottfried

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Arlene Gottfried | Sid's Basketball Game Š Arlene Gottfried

Her works are part of the following collections (selection): Museum Folkwang, Essen; Maison Européene de la Photographie, Paris; The Museum of Fine Arts, Houston; Brooklyn Museum, New York; The Jewish Museum, New York; The New York Public Library, New York; Southeast Museum of Photography, Daytona Beach; Bibliothèque Nationale, Paris.

Her works have been exhibited at: The Museum of the City of New York, New York; Museum of Modern Art, New York; Smithsonian Institution, Washington D.C.; The Museum of Fine Arts, Houston; Southeast Museum of Photography, Daytona Beach; Rheinisches Landesmuseum, Bonn; Bronx Museum of the Arts, New York; Minnesota Center for Photography, Minneapolis.

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Arlene Gottfried | Summer Afternoon Š Arlene Gottfried

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Arlene Gottfried | Dog Š Arlene Gottfried

Hardhitta Gallery was founded in 2011

by Bene Taschen as a gallery for contemporary photography and painting.

After the solo exhibitions of American photographers Gregory Bojorquez and Joseph Rodriguez, the gallery expanded its program 2014 to include Berlin-based photographer Miron Zownir and German painter Oliver Blum. In 2015 the gallery added American photographers Jamel Shabazz and Arlene Gottfried to its program and moved into a temporary gallery space in TASCHEN headquarters. Since July 2016, the Hardhitta Gallery can be found in the Bonner Straße 536 in Cologne. Previous exhibitions in Berlin, Cologne, and Los Angeles include: Oliver Blum – Der Seelenspiegel (Cologne, 2015), Arlene Gottfried – These Days (Cologne, 2015), Jamel Shabazz – Reflections from the ’80s (Cologne, 2015), A Story to Tell (Berlin, 2014), Oliver Blum – Echtzeitmalerei (Cologne, 2014), Insights (Los Angeles, 2014), Photography from 1978 to 2013 (Cologne, 2014), Joseph Rodriguez – A Humanist Gaze (Cologne, 2013), Gregory Bojorquez – .45 Point Blank (Los Angeles, 2012), and Gregory Bojorquez – Streets of L.A. (Cologne/Berlin, 2011). From 2013 to 2015 the gallery exhibited at Paris Photo Los Angeles and participated 2015 in Art Cologne as part of NADA/Collaborations and in Paris Photo. In 2016 Hardhitta Gallery was also represented at the Photo London.

ARLENE GOTTFRIED Opening Saturday, 10 September 2016, 6 - 10 p.m.

The artist will be in attendance.

Duration 10 September - 8 October 2016 Location Hardhitta Gallery 2736 S La Cienega Blvd Culver City, CA 90232, USA

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Malleus Maleficarum

Š Mitar Terzic 49

Š Mitar Terzic

© Mitar Terzic

Between the 15th and the 18th centuries

in Europe, many people were accused of and put on trial for practicing witchcraft.

The book ¨Malleus Malleficarum¨was written by two Dominicans theologs, Heinrich Kramer and Jacobus Sprenger, in 1468 and officially approved

by Papa Inocencio VIII. During the next three centuries this text was the main guidebook for the Inquisition in the war against the witchcraft .

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Š Mitar Terzic

It has been said that the ¨Malleus Maleficarum¨ is one of the most blood-soaked works in human history and led to the prosecution, torture and murder, of tens of thousands of innocent people.

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Š Mitar Terzic

Today we know that these women frequently were extraordinary persons with ideas and knowledge far beyond their time.

Since I was a child I have been fascinated with this theme. In this work I tried to imagine their aspect intending to contrast the feminity, delicacy and almost innocence with theirs generally wide accepted terrific aspect.

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© Maren Elize Klemp

The Veil Of Fog © Maren Elize Klemp

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Š Maren Elize Klemp

My goal is to raise awareness of mental health through my work.

I consider my photography to be a plunge into the darker sides of the human mind, and many of my images are visual representations of conditions associated with mental illness. The pictures tell about those who are gripped by darkness, isolation and sadness, and about relationships with close family.

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tell

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belonging,

to live in a separate world that few or no others can enter or understand.

It's about the fog that comes creeping, which the

overpowers invisible

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paralyzes, disease.

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© Paolo Bastia + Luca Fortini

dancing wi th my unvoiced © Paolo Bastia + Luca Fortini

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© Paolo Bastia + Luca Fortini

Luca Fortini finds a mannequin and he wants to transform it into a designer floor lamp; he takes his time to observe it and then involves Paolo Bastia.

They ask each other, "What relationship can be there between a headless dummy mannequin and a live female body?" and their thoughts and questions give birth to a work before us.

Paolo reasons upon the fact that a mannequin represents a perfect soulless body replicated in thousands of copies, with no identity, no voice.

Luca wants to create a surreal situation of ambivalence between the human body and the inanimate one of the mannequin.

The young woman, on the other hand, strives to assert her own identity in confrontation with the role models imposed upon her by the society.

A peculiar dance, of its own accord, unfolds: a dance of renaissance. The model works hard and incessantly in search of harmony; she mimics the mannequin risking to lose her own identity; she juxtaposes with the mannequin; she cuddles it; irreconcilably and on impulse she disjoints it and parts from it forever.

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