ISSUE 12
Philip-Lorca diCorcia Richie Culver Olivia Bee
Zbigniew Preisner
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Slave Magazine Team
Ania Mroczkowska Editor In-Chief / Picture Editor Louise Munro Editor In-Chief / Picture Editor Artur Dziewisz Design & Art Direction Kasia Mroczkowska Features Writer
Slave Magazine Cable Street, E1W 3EW London
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12 Cover picture by Ania Mroczkowska
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Q & A with this issue contributors
Alex Taylor / Writer
JC Cerilla / Photographer
JD Barnes / Photographer
How old are you? 21
How old are you? 27
How old are you? I am 27 yrs old.
Where are you from? Doncaster
Where are you from? Manila, Philippines
Where are you from? Im from Montgomery Alabama, USA.
What is the main thing that gets you out of bed each morning? My alarm clock
What is the main thing that gets you out of bed each morning? Probably the thought of my breakfast
What is the main thing that gets you out of bed each morning? The desire to be better than I was the day before.
Money or artistic quality? Artistic Quality
Money or artistic quality? Artistic quality. Money don’t last forever but beautiful work does.
Money or artistic quality? Artistic Quality, bc it leads to money and the satisfaction of doing amazing work vs the drudgery of working simply for a paycheck.
What are you a slave to? The rhythm
What are you a slave to? My eyes
What are you a slave to? I’m a Slave to “The Process”, as nutty as it sounds, these are the days I’ll look back on with fondness, when everyday was something new and exciting in the world of fashion photography.
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Nuno Oliveira / Photographer
Koutarou Washizaki / Photographer
Kristina Soljo / Photographer
How old are you? Lets just say I’m old enough
How old are you? I am 28.
How old are you? 31
Where are you from? Lisbon, Portugal
Where are you from? I am from Japan Tokyo
What is the main thing that gets you out of bed each morning? Morning? ...what’s that?
What is the main thing that gets you out of bed each morning? Stop an alarm Going off. I usually set many alarms.
Where are you from? I live in Sydney, Australia. But, I was born in Croatia and spent my early childhood in Bosnia.
Money or artistic quality? Artistic quality What are you a slave to? Chocolate
Money or artistic quality? It is really difficult one to answer... I am trying to have quality of course. But we need money if we want to make something special... It involves the others. What are you a slave to? I am a slave to saving up for moving to New York!
What is the main thing that gets you out of bed each morning? A good hour of yoga and scrambled eggs. Money or artistic quality? Artistic money What are you a slave to? Nature and love
Q & A with this issue contributors
Patrycja Wieczorek / Photographer
RaenBadua / Photographer
Rhian Cox / Photographer
How old are you? 22.
How old are you? 28 years old
How old are you? 27
Where are you from? Warsaw, Poland
Where are you from? New York
Where are you from? London
What is the main thing that gets you out of bed each morning? Definitely photography, mostly my own artistic projects.
What is the main thing that gets you out of bed each morning? Everyday, I want to be productive and creative.
What is the main thing that gets you out of bed each morning? The need for adventure
Money or artistic quality? Both
Money or artistic quality? Artistic Quality
What are you a slave to? I am a slave to my dream of being successful in everything I do.
What are you a slave to? Ribena
Money or artistic quality? IGreat, when it’s both, but when I have to choose, I always choose quality. However it’s hard to maintain quality without money What are you a slave to? First of all I’m a slave to portrait photography, also woman beauty and I always try to make some innovative frame
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Roxana Enache / Photographer
Shawn Reinoehl / Photographer
Jacek Kołodziejski / Photographer
How old are you? 27
How old are you? [Pi+e-cos(e/32)]-4.8
How old are you? 33
Where are you from? Bucharest, Romania
Where are you from? Denver Colorado
Where are you from? I’m from Poland
What is the main thing that gets you out of bed each morning? The art
What is the main thing that gets you out of bed each morning? My alarm clock, but I wouldn’t say its morning, but its morning somewhere
What is the main thing that gets you out of bed each morning? It’s something that makes me think that I can do something interesting and new.
Money or artistic quality? MONEY
Money or artistic quality? Artistic quality – it should go along with money.
What are you a slave to? MONEY
What are you a slave to? Vintage cars I love them, I would like to collect them but at the moment it’s not possible.
Money or artistic quality? Artistic quality What are you a slave to? I am not slave to anything-
LOSS OF INNOCENCE IN EDEN An encounter with
Philip-Lorca diCorcia by Kasia Mroczkowska
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Philip-Lorca diCorcia Lacy, 2008 Inkjet print 40 x 60 inches (101.6 x 152.4 cm) Courtesy the artist and David Zwirner New York/London
Philip-Lorca diCorcia’s most recent project East of Eden is the series of large-scale pictures, currently exhibited in London. The main inspiration for this project was the economic and political climate of the United States towards the end of the Bush era. East of Eden comprises a series of images that convey a sense of disillusionment and seem to depict people and events just after “the fall.” Using the artist’s own words, the project was “provoked by he collapse of everything, which seems to me a loss of innocence”. But what exactly does ‘a loss of innocence’ mean according to Philip-Lorca diCorcia? What do you understand by ‘loss of innocence’? Loss of innocence is the acknowledgement or the realisation that you are not in control of your own life; that there are forces invisible or trusted- that shouldn’t be that actually don’t care about you at all. And they are working, basically, for each other in a kind of consortium. The end result of loss of innocence is that you have no control. I think that one of the things that has been most interesting recently is the fact that the mechanisms of control and manipulation have become more transparent by all sorts of things, like WikiLeaks, for example; and that’s been another loss of innocence. Now nobody can think about things in the same way.
Are there any positive aspects of people’s loss of innocence? If loss of innocence, I was referring to, would actually have led to anything better, I would say: ‘Fine!’. If the collapse of the world economy and subsequent impoverishment of so many people, and the war, and, sort of, changing hands to another administration, if all of that had actually changed anything, I would be fine. But the truth is the rich get richer and the poor get poorer, and that hasn’t changed at all. Most of the people, who perpetrated both the financial crisis and the war, are just happy as pigs in shit right now; and it’s still a loss of innocence for the others who had believed in many things before ‘the fall’. Is there any specific reason why you have decided to show Hustlers in New York, and East of Eden in London? It wasn’t my decision. I would call it ‘a gallery decision’. I don’t really know if it was strategic, or if they were simply pushing me to end the series. But there was no strategic reason on my side to have two simultaneous openings like these. It really wasn’t my choice.
Using your own words, are you still “nervous Is ‘the collapse of everything’ something that has as hell” about exhibiting two different projects affected you personally? simultaneously? Yes, I was personally affected. I have retirement sav- Is it something you read about in Financial Times? ings that were decimated, and stuff like that. I don’t have any choice now, I can’t go back; I mean, The world changed in many different ways. For me, it is what it is. as a photographer; the world’s shifted to digital…., Polaroid, Kodak, and, to some degree, Fuji- all these companies are bankrupt or dissolving. And then you have your own personal things. During that period I turned 60, my son went away to college…There are transitions that happen, but transitions are not the same thing, as they are not imposed.
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Philip-Lorca diCorcia Sylmar, California, 2008 Inkjet print 56 x 71 inches (142.2 x 180.3 cm) Courtesy the artist and David Zwirner New York/London
Philip-Lorca diCorcia Cain and Abel, 2013 Inkjet print 39 1/2 x 49 inches (100.3 x 124.5 cm) Courtesy the artist and David Zwirner New York/London
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Philip-Lorca diCorcia Iolanda, 2011 Inkjet print 40 x 49 1/2 inches (101.6 x 125.7 cm) Courtesy the artist and David Zwirner New York/London
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STICK TO YOUR GUNS An interview with
Richie Culver by Kasia Mroczkowska
Famed for his Have you ever really loved anyone? piece exhibited by Tate Modern, and most recently often mentioned for his Four Letter Word showcased in London during Frieze week; Richie Culver on art, love, Damien Hirst, collecting dog toys, and compromising. As I am transcribing my just finished conversation with Richie Culver, I still feel the intense taste of snus in my mouth. “Don’t worry if you don’t like it, I won’t feel offended if you just chuck it out, I have plenty,” he assures me. Snus is a very Norwegian thing, rather hard to find in London, but if like Richie Culver, you are an artist who spent a considerable amount of your summertime working on your solo show in Norway and hanging out with the locals, you will definitely end up with loads of snus in your pockets. But more importantly, as a result of his residency in Stavanger, Norway, Culver created The Four Letter Word, the series of photographic works, exhibited by Skur2 galley in September, and most recently showcased during Frieze week in London. Classically beautiful on the surface and disturbingly enigmatic beneath, the layered images, as the exhibition’s title itself, leave lots of room for interpretation. So, what exactly inspired their dual character?
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“When I went to Norway, before doing the show, I looked at lots of Norwegian paintings. The guy I was staying with had lots of paintings from the 60s and 70s; a lot of them were Pollocky, aggressive type of paintings. When you stared at them for so long, you would always pick something out. I once asked him: ‘Have you ever noticed that?’, pointing at something in one of the paintings, ’No, I haven’t,’ he said, and he has had the painting for years. And I guess that might have nudged me in that direction.” At the same time, not only those paintings, but also the very vibes of Norwegian landscapes, made him conceive The Four Letter Word. “Stavanger is a beautiful place, but after you spend a while there…, I’m not saying that it’s whiter than white, but you can see there is something under the surface there. (…) There is also this mad high cliff in Norway, called the Pulpit Rock. We went on a boat trip one day to see it, and one of the locals told me that it’s one of the most popular suicide destinations. People come there from all over the world, even Japan, to jump off. Apparently some people even compile playlists; well actually not playlists, but they pick certain songs to listen to towards the fall. There is definitely darkness there amongst the beauty, so in the end it was not difficult to create something dark underneath.” Speaking about darkness, it was definitely the dark side of love that inspired Richie Culver’s first acclaimed art piece. A magazine cut-out of a Jessie
Owens black and white picture with Have you ever really loved anyone? phrase stuck onto it, featured in a group exhibition at Tate Modern in 2010 shooting him to fame, relates to Culver’s painful passionate love experience. According to my thorough research, he created the famous ‘Have you ever really loved anyone’ sentence by cutting separate words out of the book that was actually one of Charles Bukowski’s novels. Interestingly, it was Bukowski who once said, ‘Love is a dog from hell’; is it something he might personally agree with? “Love is a dog from hell? Uhmm…depends who loves you. Love has to be a two-way thing for it to be real, I think. Otherwise it’s more like an obsession and it becomes a little bit creepy.” And what about that girl, the great inspiration behind his early, love-themed works; is that piece of his personal history still important to him? “It was such a long time now. I’m definitely over it. (…) Old ties were cut a long time ago, Facebook, and all that stuff. I guess, if I’m gonna love someone and be with someone, I’m ready to give that person everything; to me it’s a matter of either all or nothing.” Being prominent emerging British artist, Richie Culver never formally studied art, and yet when once asked by a journalist about one piece of advice he would give to an aspiring artist, he once said: ‘Go to an art school’, feeling a bit intrigued, I ask him, why?
“I think you are maybe making life more difficult for yourself by not going to art school; things that you learn there and the tools that you leave with, as opposed to just teaching yourself… I may go there one day, who knows. I always want to learn new things. But at the moment, I don’t feel the need, because I’ve got so much planned ahead, and things seem to be constantly happening. At the same time, there are many great artists who didn’t go to art school; it’s really two-sided coin, innit? Some people are for, some are against, and some don’t really care.” In addition, no one can really teach you how to become an artist; is that right? “I don’t know, really; but it’s a bit like some people are just really good at football, for instance. There were those kids; I was at school with, who were just good. They just had that something that the others didn’t have. Some of the kids trained a lot, and their parents would buy them the best boots, and so on; but there was always that one kid who didn’t have all of that, but was just better than the others, you know. So I guess it’s kind of similar to that, people are just born with something. Sometimes it takes some people many years to find it. Some people find it at earlier age and stick with it. I didn’t find my arts till my mid twenties. I always knew I was creative, and that I didn’t want ‘normal life’, this kind of 9:00-5:00 thing.”
And it seems that this ‘9:00-5:00 thing’ was never meant to be his ‘destiny’. While many art school graduates and various unknown artists every year strive to get their works noticed, Richie Culver’s first formal artwork almost immediately got exhibited by Tate Modern. What is more, just two years later, his face, painted by a fellow artist, ended up on posters all over London promoting the 2012 BP Portrait Award. At that time he was quoted to say, ‘Some people think that I’m more famous than I actually am…’ Is this Warholian concept of an artist being a bit of an artwork himself something he personally values? “For me it means living it constantly, 24/7. I do like it. I’d definitely put myself in that category. Not because of the way I look, but I’m constantly thinking about it. It’s basically 24/7. And, also anything that promotes contemporary art to younger people who often perceive it as boring or pretentious…I’m not talking about street art and graffiti, but the more you can promote contemporary fine arts to younger people…, and if that’s by the artist living or looking a certain way… I know when I was growing up, I’d look at Damien Hirst doing videos for Blur and hanging out with Oasis; and I was like ‘Wow, he is like a rock star!’ do you know what I mean? He was this ‘bad boy’, and that got me interested; it made it exciting for me.
He did ‘the shark’ and was telling curators to fuck off, and all this sort of stuff. The 90s was very vibrant if you think about it comparing to the present days in London; I don’t know if I was this 13-year-old kid now, I’d look at contemporary art world thinking: ‘Oh, that’s something I want to be a part of’. Certainly coming from a working class background, I was very much one of those people that were, kind of, afraid to go to those posh places. And with contemporary conceptual art, unless you work in it, or know somebody who is doing it, I think it can sometimes be daunting for people that haven’t studied art, or really understand it.” As in one of his previous interviews, he was openly criticizing ‘stuck in the past’ London art scene while contrasting it with much more progressive approach in New York, I ask whether he still perceives it in the same way. “I might have been a little harsh there. London is arguably the epicentre of the art world. We have the best galleries, or the best galleries always come here in the end. We have the best, biggest artists…But, I think, in New York just little things get
noticed. The age of so many artists that get shows in museums and galleries is quite young; for example Ryan McGinley showing at the Whitney; I don’t know if that would really happen in London, you know. And then again, there are many English artists that, I thought, were much younger, but actually they are already 40-something, like Jonathan Yeo…” And we still seem to use this expression, Young British Artists, even though YBAs are not that young anymore... “Yes, they are not young anymore, but they are still spoken about. YBAs happened, and I don’t think another movement like that will happen again. They are all really great artists, and you’ve got to be proud, as an English person, that it all happened. It is a piece of history now. At the moment whether it’s art, music or fashion, everybody seems to be looking for that movement, but nowadays everyone is so obsessed with fame…” And what exactly triggered his decision to move to Berlin? “I was living in London for 12 years, which is kind of long time; there was also a bit of New York
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in between. I love London and everything about it, but the beauty, kind of, fell out of London, and I started to feel I knew all the streets…, I still love it, but I needed that kind of…maybe language barrier? I just needed; well, not to push myself, because it sounds a bit cheesy, but I just needed this new context.” An exploratory approach to things seems to be something that Richie Culver likes to practice. Having found out, through my earlier research, his fascination with dog toys that he collects, and, as he later tells me “enchanted him” for being “something that doesn’t talk, but at the same time is a way to “show your respect to the animal”, I end up preparing a tiny package that is meant to enlarge his collection. My humble gift consists of three rubber pieces being: a pink bone, an old-fashioned shoe, and something that resembles…ermm, actually, no idea... But for Richie Culver, a connoisseur of dog toys, the piece is very simple to define. “It looks like a diamond. I’ll call it a diamond!” exclaims without a moment’s hesitation. ‘What a lovely thing, thank you!’ he beams, seeming to genuinely appreciate
my humble gift. “That’s the nicest thing someone has done for me, like this year,” he adds, all smiles. His spontaneous, warm reaction makes me later think about that impulsiveness which seems to be the driving force behind his creative process, and that, in turn, makes me intuitively believe in the honesty of his art. ‘Never compromise’, emphasises Mike Leigh, but can compromising be justified in certain contexts? I ask. “I agree with him. Stick to your guns. You know yourself best if you’re happy with it or not. Certainly in a creative field you should never compromise. Maybe in some other industries compromising is common sense, but when you do your arts, do not compromise, even if it means not selling it. Compromising is like questioning yourself.” Richie Culver’s official website: www.richieculver.com
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COME FOLLOW ME INTO MY WORLD Zbigniew Preisner talks to Kasia Mroczkowska
about Diaries of Hope, Krzysztof Kieslowski and why it is important to always be on time.
“Would you like something to drink?”, Zbigniew Preisner asks me, as we sit down in his hotel room in London, just several hours before the UK premiere of his Diaries of Hope featuring Lisa Gerrard at the Barbican. Zbigniew Preisner pours me a glass of water, and I am moved; as, first of all, it is the Zbigniew Preisner, and second of all, I just haven’t expected to be offered anything to drink, as it doesn’t usually happen that an artist you interview cares if you’re thirsty or not. Zbigniew Preisner. Whenever I hear his music, space-time gets bent. The Double Life of Veronique, The Decalogue, Three Colors: Blue, Three Colors: White, Three Colors: Red. Krzysztof Kieslowski. The Nineties. My teenage self so privileged to be able to discover and experience this Music and this Cinema. Preisner and Kieslowski, the cinematic ‘spiritual brothers’, whose memorable collaboration has influenced artistic sensitivity of many people all over the world should always be mentioned together.
It has been nearly eighteen years since Kieslowski’s death, and yet his atoms are still present in Preisner’s most recent project. It is Kieslowski whom Preisner mentions several times when speaking about Diaries of Hope and it was Kieslowski who urged him to compose it. Diaries of Hope, five-movement work for voices, strings, cello and piano, featuring Lisa Gerrard’s celestial voice constitutes Preisner’s personal reflection on what he experienced together with Kieslowski during their visit to a very special exhibition in Jerusalem. We sit down. I turn on my voice recorder. We are ready to go back in time; almost ready.,, “They keep putting them here; I’ve told them many times that I don’t want them!” mutters Preisner, grabbing a pile of glossy magazines off the table and throwing them on the floor. Then he changes the position of my voice recorder, saying: ‘the microphone is here, you should point it toward me.”
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In the video interview I have seen, when elaborating on the origins of Diaries of Hope, you went back in time to the 90s when together with Krzysztof Kieslowski you visited the Museum Yad Vashem in Jerusalem, where you saw the exhibition dedicated to the children who were victims of the Holocaust. As you said, you were both deeply shocked by it; and then Kieslowski told you, that ‘You have to describe it musically, you have to do it.’ What exactly made you get back to it after so many years?
Do you think you just needed to wait all these years?
Yes; some things just need time to evolve within you. And then I found those diaries that I ended up reading – the Diaries of Rutka Laskier and Dawid Rubinowicz, the Polish equivalent of the Diaries of Anne Frank. Sometimes you discover something that has always been within reach, and the only thing you just needed to do, was to grab it. Before I didn’t even realise that Anne Frank’s diaries were available in Poland. And then I came across those two poems, If I knew why certain things are written or created, written by very young boys, ‘Dream’ by Abram Koif I knew why I compose music, why I create, then I plowicz and ‘In A Dark Hour’ by Abram Cytryn, and wouldn’t be an artist, I reckon. Sometimes it’s hard to they turned up to be the next step… explain why something happens, and it is not always possible to calculate everything. As the French poet, ‘Dream’ and ‘In A Dark Hour’ might be also read and also art critic, Baudleiare, once beautifully said, as symbolic representations of two different ata true art is born, when the artist has the courage to titudes towards life. Are you rather an optimist say: ’Come, follow me into my world.’ or a pessimist? In life we come across different situations. Sometimes we remain unmoved by them, and some I once talked with Kieslowski about it, and he said of them we will never forget; but they are not always that some people are born optimists, and some peseasy to describe, to share with the others. Maybe simists. And I am the latter. I am a natural born pessisome things should remain private forever, because mist, but I always have hope. My pessimism is by no our intimate life is the most important. I think that means destructive. I just don’t believe in eternal opthese indescribable things are often the most signifi- timism that makes you think: ‘No matter what comes cant ones. tomorrow, I will manage somehow.’ I don’t believe in But speaking about that exhibition, I saw to- ‘somehow’, I prefer to plan for the future. gether with Krzysztof Kieslowski in Jerusalem, what was really shocking about it, was that, as a Polish And speaking about that ’hope’ in the title; why person, you thought you knew what the Holocaust do people need hope? was like, you thought you knew everything about it…But when you enter a dark room lit by thousands Hope always dies last. Without hope many things of candles as if they were stars, and from the loud- would have never happened. If you and I didn’t have speakers you hear the names and the age of those hope, you wouldn’t have finished your studies, and children, and the sites where they were massacred; I wouldn’t be making my music. And you wouldn’t Jozef Bracki, 12 years old, Auschwizt, and so on… be here in London, and I wouldn’t be living in SwitAnd in the darkness you can’t see other people’s zerland. We always need to believe in what we do. faces, you can’t see anything; you just move forward I know many people who don’t believe in anything; very slowly holding on to the rope… It is something and that’s very sad. almost impossible to describe and impossible to forget. And when you later go outside, and see the Considering the fact that so much has already bright sun of Jerusalem and the beautiful olive gar- been written and said about the Holocaust; why, den, you end up thinking: ‘My God, so many innocent do you think, Krzysztof Kieslowski so desperchildren were killed; so many potential professors, ately wanted you to ‘describe musically’ what music composers, artists, writers, architects, econo- you’ve experienced during your visit to that mists, presidents…’ It is the kind of artistic inspira- exhibition in Jerusalem? tion that is not easy to convey. Back then I thought I would start describing it immediately, but it is not that easy to describe such a hecatomb.
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If you ever go to Jerusalem, just visit the exhibition, and then you will understand what I am talking about. It’s so shocking. It’s something that changes everything you thought you knew about the Holocaust. I remember when I was in high school, I visited Auschwitz concentration camp for the first time in my life; I was so overwhelmed by what I saw there. And I promised myself I would never go back there again. And then, many years later, I ended up visiting it again, because Thomas Vinterberg, the Danish film director, really wanted to see it; even though I had warned him, saying: ‘ Don’t go there, because it will just make you angry.’ At that time I was making music for his film, It’s All About Love. Having visited that concentration camp in Auschwitz, he said to me: ’I just need to leave for a couple of days. I am not able to do anything at the moment. I am sorry, but I am leaving.’ And he got into the car and went back to Copenhagen. But, what I experienced visiting Auschwitz was nothing in comparison to that exhibition in Jerusalem. Those innocent children; they haven’t done anything wrong. What a sick ideology it was…, to kill the entire nation! Can you imagine someone saying now, for instance: ‘let’s kill all English people?’ …Or, let’s kill everyone with brown eyes… Yes; can you imagine someone having such a sick idea? It’s been nearly 70 years now since the second world war, and somehow we have managed not to have another world war, but I think it might happen any time. Nowadays, when I read about the situation in Syria, Afghanistan, and Iraq, I always end up thinking: ‘Is it possible that the neutral powers genuinely had no idea what was going on in places like Auschwitz during the war?’ It’s very important to remember the past, in order to build the future we want to live in. We live in uncertain times; on the verge of life and death, on the verge of war. Maybe it’s not a coincidence that I have composed Diaries of Hope at the present time.
Do you make any special physical or metaphysical preparations before your concerts? Do you perform any weird ‘rituals’ in you daily life; like, for instance, Beethoven who, according to what I’ve read in the Guardian, personally counted out the 60 beans his morning cup required? No, absolutely not. I think that an artist should keep his feet on the ground. I don’t perform any ‘rituals’. Before my tomorrow’s concert, I am not going to do anything weird. I won’t be smoking marijuana. I won’t be vandalizing my hotel room. I won’t be throwing bottles out of the window; I won’t be, for example; setting fire to that… …carpet? …no, I won’t be setting it on fire. And I won’t be tormenting myself. On the contrary, I m just going to eat some nice sushi, and then I need to find out where I can watch Poland-Ukraine match. I just need to see our national failure; and I will be watching it with a real pleasure. And I also need to buy a good bottle of red wine. Finally, I will need to check whether my shirt and trousers have been ironed; that’s all I need to do. You definitely won’t be levitating above the ground, will you? I won’t be levitating. I won’t be meditating. None of the above. And speaking about phobias, I hate flying; maybe I will die in a plane crash some day…I also have my own habits; I am extremely punctual, for instance. I remember whenever Kieslowski and I agreed to meet at, let’s say, 5 o’clock, no matter if it was at the airport in New York or Los Angeles, no matter if he was coming back from Japan, and myself from some other part of the world, we would be at 5 o’clock on the dot; that was our philosophy of life. We even once bought two identical watches at the airport in Zurich, and we synchronised them in order to check who was less punctual. And what did you find out?
Why have you chosen Lisa Gerrard’s voice for In general, we were both always perfectly punctual. Krzysztof was late only once, because his car broke this project? Was she your first choice? down. He arrived four minutes late, and within those I always wanted to work with her, but there was no four minutes I managed to finish the piece of music, occasion before, and I despise projects that do not we had worked on. So, when he arrived, I told him, come naturally. When I started writing Diaries of ‘Kieslowski you’re late, it’s all done now.’ In life, it’s a bit like in Kieslowski’s Blind Hope, I knew that there was only one person whose Chance; you just need to be on time in order not to voice would be able to express all that suffering, that tragedy. Diaries of Hope wouldn’t exist without Lisa miss your train. Gerrard.
www.kristinasoljo.com
w wild west
PHOTOGRAPHER: Kristina Soljo STYLIST: Lynn Truong HAIR & MAKE UP: Lei Tai MODEL: Ashton @ Work agency
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Hat: Route 99 Leather body suit: Stanzee
Hat: Rag & Bone Coat: Chloe Blouse: Virginie Lynn Pants: Zimmermann Shoes: Alexander Wang
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Leather bustier & leather pants: Stanzee boots: Route 99
Sweater Zimmermann Leather Pants: Stanzee Boots: Route 99
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Blouse: Levis Leather leggings: Helmut Lang Boots: Route 99
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Hat: Route 99 Leather top: Versace
www.simplephotography.co.uk/mark-seager
l lucius
Photography: Mark Seager Styling: Laura De Barra Hair & Make-up: Romy Medina Assistant: Fiona Reeves Models: Magda @Superior and Ciara @The Model Team
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Ciara wears: Dress: Tweeded Oxford shirt: Urban Outfitters Socks: Chapini.co.uk Boots: Vintage Headpiece: Laura de Barra Magda wears: Dress: Tweeded White shirt: Topshop Socks: Chapini.co.uk Boots: Dr Martin Headpiece: Laura de Barra
Ciara wears: Dress: Tweeded Oxford shirt: Urban Outfitters Socks: Chapini.co.uk Boots: Vintage Headpiece: Laura de Barra Magda wears: Dress: Tweeded White shirt: Topshop Socks: Chapini.co.uk Boots: Dr Martin Headpiece: Laura de Barra
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Magda wears: Navy Collared dress: Laura de Barra Shirt Worn under: vintage Wine Socks: Chapini.co.uk Headpiece: Laura de Barra Boots: Dr Martin
Ciara wears: Brown collared dress: Laura de Barra Shirt worn under: Vintage Navy Socks: Chapini.co.uk Headpiece: Laura de Barra Boots: Vintage
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Swing Coat: Tweeded Floral shirt: Tweeded Tweed pleated skirt: Tweeded Cardigan (worn under): Noa Noa at K by Kakao White cotton shirt: Laura de Barra Socks: H&M Boots: DR Martin
olivia beE Interview Words: Alex James Taylor
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Most photographers can only dream of a client list including the likes of Hermes, Levi’s, Vice and The New York Times. But for Olivia Grace Bolles this is simply the beginning. At just 19 years old Olivia Bee, as she is more commonly known, has fashioned her own distinctive style to become one of the most sought after photographers around. Using social media, specifically Flickr, as an outlet she uploaded photos of her youthful adventures, often using her friends as subjects, providing a window into her life – sun kissed and glistening. Opting for documentary style photos yet with a foot firmly placed in the world of art, she pushes the boundary between reality and imagination. Olivia’s trademark youthful, fantasy aesthetic fully captures the electric pace of adolescence. Drenched in teenage love, lust and life, her pictures offer a fresh perspective to the world of photography. She entices the viewer into her teenage experiences through a voyeuristic, dream-like haze, as if we are being given a private viewing into her personal diary. With stacks of creativity and the self-belief to match, there’s no stopping Olivia now, and with film- making ambitions and a desire to continue telling stories, who would want to?
Hi, how are you? Hi! I am good! Working, working, working and quite tired, but happy. Where are you living at the moment? Well this week I am living in Paris. I travel a lot which is amazing; my heart and eyes are very open to new things this way. My permanent home is New York, which means I am always working because no one in New York stops to breathe. I love it and I hate it; I have to get onto a plane every other week to stay relatively sane. What do you tend to get up to when you aren’t working? I am constantly living for art; I mean it’s kind of all I do. But it takes different forms; decorating my house, going on a bike ride down a pretty street, going to a beautiful mountain, drawing, cooking, watching movies. I kind of think of my life as a curation to some degree; I wish for everything I experience to be beautiful in its own way and to make sure I am constantly surrounded by beauty in all shapes and colours. Road trips are also my favourite thing in the world. It is the ultimate symbol of youth and freedom. I live for youth and freedom.
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How did you initially become involved in photography? I took a class by accident in 6th grade and it became an obsession. How would you describe your photographic style? Free, young, dreamy, optimistic. What types of camera do you use and why is this? I use a variety of different cameras because my personal lens is the most important and should be able to show itself through all different kinds of tools. I like to challenge myself this way. Also I just get bored. What are you working on at the minute? Post production on a huge campaign (I shot the print and directed the tv) that comes out early next year, a lot of shoe stuff, fashion editorials, writing a movie, working on my book, a lot of PR, a short film, an exhibition...trying to still be 19 too. A lot of your photos seem to have a very mythical, fairy like quality about them, and a dreamlike shimmer. The Hermes shoot is a perfect example of this. What has inspired this?
I am inspired by dreams, feeling like a kid and being excited by the whole world. Stepping into fantasies. What’s been the favourite shoot you’ve worked on? The Hermes shoot was amazing. I think the campaign I was talking about earlier was one of the best experiences of my life though. I learned so much, I made great art, I bonded with really special people…it was really emotional for me. My dreams are coming true. But it’s important that my dreams always grow. Do you have a favourite photograph of yours? Recently the photo I took of Veggie and Liam in the ocean in their underwear in Santa Barbara. That was one of the most amazing nights. We were all so happy and so together. Like family. Who would you love to photograph? Pop stars, bands, the people in my life that I love. What are your future ambitions and plans? To never stop. But directing films is the next step. I want to tell all kinds of stories.
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www.nunophotography.com
dark mood Photography: Nuno Oliveira Styling & Makeup: Irina Dzhus Hair Styling: Olga Dipri Model: Irina Rozhik
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Shirt: Bevza Trousers: Bevza shoes: Bevza
Coat: Bevza Shoes: Bevza
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Shirt: Przhonskaya Trousers: Bevza
Coat: Bevza Shoes: Bevza
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Suit: Bevza Shirt: Bevza
www.thejamesbarnes.com
o Boys of NY
Photographer: JD Barnes Stylist: Michael Stallings Assistant: Raytell Bridges Male Hair Grooming: Yetty Bames MUA: Katalina Models: Miguel @ Re:Quest, Satoshi @ NY Models, Evan @ Re:Quest, Logan @ Ford
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Jacket: Religion Top: Religion Bottom: Philip Lim Shoes: Civic Duty
Top: Control Sector Bottom: Control Sector Socks: Stylist own Shoes: Civic Duty
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Jacket: Michael Kors Visor: Stylists Own
Jacket: Michael Kors Top: Control Sector Bottom: DKNY Shoes: Civic Duty
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Top: Control Sector Bottom: Control Sector Shoe: Civic Duty
www.jacekkolodziejski.com
w Willa Dei Misteri
Photography: Jacek Kolodziejski @ SHOOTME.pl Hair: Klaudia JaSpinska Make-up: Marianna Yurkiewicz Set design: Ania Loskiewicz / Beza Projekt Model: Alexa @ AMQ MODELS Clothes: Kamila GawroNska-Kasperska
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www.behance.net/Roxana_Enache
www.behance.net/Roxana_Enache
noir Photography&concept: Roxana Enache Model: Andreea Matei @ IMC Models Makeup: Natalia Kiselev Hairstyle: Elena Ionita
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Headpiece: Idelier Concept Store Lingerie: I.D Sarrieri (The Place Concept Store)
Headpiece: George Neagu Dress: Rhea Costa (Molecule F)
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Dress: Le Petit Indigent (Molecule F) Harness: I.D Sarrieri (The Place Concept Store)
Dress: Le Petit Indigent (Molecule F) Harness: I.D Sarrieri (The Place Concept Store)
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Dress: Murmur by Andreea Badala (The Place Concept Store) Headpiece: George Neagu
www.koutarouwashizakiphotography.com
D Diabolique
Photographer: Koutarou Washizaki Stylist: Mayumi Mataba Hair: Show Fujimoto Make Up: Misato Washizaki Model: Katarina Nemcova @ Profile
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Leather Jacket: Vintage
Top: Top Shop
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Pants: stylist own
Tights: Nike
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Top: Acne
www.raenpbadua.com
bad habit Photographer: Raen Badua Stylist: Anthony Anfrens Model: Tremen Bolton @ HELLO Models NYC
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Jacket: Saks Fifth Avenue Jeans: H&M Hat: K-Hats Shoes: Topman
Blazer: Ralph Lauren Hat: K-Hats Top: Army & Navy Pants: H&M collection Sneakers: Converse
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Hat: American Apparel Jacket: Eddie Bauer Shirt: Margarita Island Jeans: 10 Deep Shoes: Vans
Hat: American Apparel Jacket: Eddie Bauer Shirt: Margarita Island Jeans: 10 Deep Shoes: Vans
Hat: Anne Klein Hat: American Apparel Jacket: Eddie Bauer Shirt: Margarita Island Jeans: 10 Deep Shoes: Vans Shirt: American Apparel Shirt on Waist: Levis Pants: Uniqlo Shoes: Converse
www.patrycjawieczorek.4ormat.com
G GLASS
Photographer: Patrycja Wieczorek Photographers assistants: Daniel Ujazdowski & Grzegorz Polanski Model: Aleksandra Steplewska @ Avant MUA & Style: Koleta Gabrysiak MUA Assistant: Izabela Krukowska
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Dress: Malina Headband: Miss Malwia Accesories Necklace: stylists own Shoes: Kazar
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Dress: Joanna Jachowicz Rings: Lewanowicz Necklace: stylists own Shoes: DeeZee
Shirt: Krajewscy Skirt: H&M Waistcoat: Joanna R. Wodzinska Jewellery: Lewanowicz Shoes: Kazar
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Skirt: Joanna R. Wodzinska Shirt: Krajewscy Jewellery: Lewanowicz Headpiece: made by stylist
noise999.jimdo.com
T TENSEGRITY Photo: Tomokazu Hamada Hair: Yusuke Ukai (TRON) Make up: MAKOTO Stylist: Rinda Blwnee Model: Danil
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Graphics Parker & Pants: Plastictokyo
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Tigers stole: Dress Camp T-shirt: Plastictokyo
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T-shirt: Plastictokyo Down vest: Rocky Mountain Featherbed Pants: Issey Miyake
BEHIND THE SCENES of
Willa Dei Misteri with jacek kolodziejski
What was the concept for your shoot? Villa dei Misteri - it’s the name of Kamila GawronskaKasperska new collection; it is also the name of cycle of paintings by J.Nowosielski - so it was natural to refer to his work. They are often balanced between sacrum and profane. They are creating different spaces and compositions - so I wanted also to create a space made of colours and shapes, they could be the enclosure for the model. I have done some sketches, and thought about using a repeating module that would evolve from open to closed composition. All the transition stages would show this transformation. I have thought a lot about colour, Nowsielski had his characteristic colours, but finally I have decided for a bit stronger version of them. Some info about your team/ why have you decided to work with them on this project? I have decided to change my team a bit for this work and I have done the final set design with Anna Łoskiewicz from bezaprojekt, she is a designer so her approach was a bit different from scenographer. It was an interesting cooperation, set was a fully working and movable structure. I have spent a lot of time to find a right model, I have
meet with many models for the fitting - but we all had this filling that there was something missing. Finally we have found Alex - we were a bit afraid - but finally it was a right decision to work with her. I have worked with very talented makeup artist - Marianna Yurkiewicz, she works a lot in Paris now :) and I had amazing hairdresser Klaudia Jaspinska. So I had a very good team of professionals - it is very important for me to work with people that are creative and love their work. Can you share with us some technical info; lighting diagram, equipment used... I was using flash light from BronColor, sometimes I work with film light, but in this case I have decided for flash light. The set up of the lights was changing a bit for every shot, I was using big soft boxes, and more condensed sources of light, also some reflected light. What are your criteria when selecting magazine you want to be published with? I like creative magazines that are showing editorials with some concept behind. They should have something artistic in them, every shoot should have it’s own energy and spirit. I like magazines like Dorade from Paris, or Aperture or polish Label magazine.
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BEHIND THE SCENES of
Abandoned with JC Cerilla
What was the concept for your shoot? Our concept was based on a new designer named Sophia Wu that my stylist found. We all fell in love with the concept of her collection, which was aptly named Leprosy, and it became the inspiration for the shoot. Personally I was moved to shoot a lonely scene in Chinatown because... Couple of weeks before the shoot I was feeling sad because my ex-girlfriend lost her father from a heart attack, I felt her pain and agony even if we are thousands of miles apart. I felt that she was alone and that feeling inspired me to incorporate it with the story and mood of the shoot. The feeling of loneliness and being alone could be felt throughout the photographs. Some info about your team/ why have you decided to work with them on this project? My team is a mix of cultures all from Asia, the stylist is Korea-American, the hair stylist/make up artist is Japanese, and I am Filipino. We thought it would be fun to shoot in Chinatown with an Asian model. Even if we all come from different cultures, we compliment each other and create great works of art. My team always deliver and add to my vision, their work ethic and style is amazing.  Can you share with us some technical info; lighting diagram, equipment used... A 35 mm camera and my two lenses canon 50mm 1.4 and my sigma 24-70 mm 2.8 Since we did the shoot outdoors I used natural light and some available ambient light for a couple of looks. What are your criteria when selecting magazine you want to be published with? I always go for a magazine that has a good reputation with strong editorials. The aesthetic and style of the magazine should match with mine.
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Slave Magazine issue13 Out Jan 2014
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