Issue13 by The Archive

The Archive

THE ARCHIVE MAGAZINE FEATUERS In this issue: Yoav Horesh - “Serene Oasis” Marina Kozlova - “Iphonia & Remains”

Ilan Spira - “The Unseen“ Claudio Rasano - “Renessance Portraits”

INTERVIEWS Interview with Ariel Schalit Associated Press Photographer

Maxim Dinshtein

Oren Ben Hakoon

Ohad Zwigenberg

Maxim Dinshtein

Amir Rotgolz

Ben Kelmer

Dor Kedmi

Ori Levy

Eli Basri

Noam Moskowitz

Avi Bachar

Noam Moskowitz

Noam Revkin-Fenton

Ohad Zwigenberg

Ben Kelmer

Ori Levy

INTERVIEW:

Ariel Schalit

What was most memorable experience as a photographer for you? There are many, mostly from the Second Leba-

non war , because a lot of colleagues got injured around me. Also I think being onsite when a terror attack

occurs, as happened to me several times in Tel-aviv. What is your favourite

colour? Blue.

What was your favourite location to work at ? How did you start being I do not think I have on. What was your favoua photographer? I love to take pictures rite book as you were I saw a few films, “Under anywhere I go. As a surfgrowing up? Fire” and “Salvador”, that er I love the sea but it’s I cannot point out a spe- made me understand not necessarily connectcific book but music is a what I want to do in life, ed to my photography. big part of my life. Even for my Bar Mitza I got though I cannot sing or my first camera. It was Can you give an advice play, I do listen to a lot an under-water Minolta, to a starting photograof music. During child- and I started photograph- pher? hood it was heavy met- ing my surfing friends. First of all you need to al, and today it’s mostly understand that you classic rock. Is it different to work love it, otherwise you with AP than with a can’t do it. There are How important is the local news outlet? hard moments and hard role of photography It is very different. I was scenes to bare. You need today ? working as Haaretz pho- to work a lot to underThe role of photogratographer before, the stand where and how phers is important as differences are in the exactly to approach a any other profession. A quality and importance story, it’s hard work. lot of people these days of each photograph. The use their phones and the stories that we do for AP How big is the role of ability to take pictures have an international sport photography in became easier and more interest. your day to day work? common. Many people In Israel AP aren’t covintervene with their pho- How do you know that ering a lot of sport tographs by photoshop- you took a good shot? events, but if there is a ping and editing them. In You feel it in your body. need to cover a sport order to show unfiltered It is unexplainable rush. event for AP - I’ll be truth of photojournalism But until you find that the one to do it. Mostly and documentary phoone image, there are a lot I cover football tourtography, it’s crucial to be of frustrations. naments such as Euro professional and to show 2016 and Africa cup. it as raw as possible.

Renessance Portraits - Claudio Rasano

Claudio Rasano a Swiss photographer, traveling and always searching for new photographs, as he ofter says: I never plan projects, I always spend few weeks driving and walking around to see and make myself a plan". This technic works wonderful for Claudio as he manages to

find unique faces that represents the common and the usual. Rasano's portraits full of diversity and has a very strong connection to renaissance portraits of Raphael and Hans Holbein the younger.

I took this picture in a living neighbourhood of the city of Soweto. It is an important element of the series. Everyone lives in the same place like before from 2012/2013. It shows a boy in his vicinity, his house was only a few minutes from there. He chose the place, and I was impressed by the final result: the two trees in the background are a very fitting frame for this porud and self-confident young man.

For me the outside life means to actually see and not to walk with closed eyes. On the day this particular portrait was taken, I was walking around in the center of Johannesburg and was stroke by this little boy. He was very interested in my work and asked me to take his picture. He just came out of school and was on his way back home.

I never plan projects, I always spend a few weeks driving and walking around to see and make myself a plan. This picture marked the beginning of the series "Everyone lives in the same place like before", developed in Johannesburg in 2012/2013, and came about when I was passing by in the car and saw a dog on the street. As I

couldn't see any owner, I rang the bell of the house the dog was standing at, and a woman opened. We started to talk and it came out that the dog belonged to her husband, a gymtrainer (the guy in the picture). I came back two days later and started the series â&#x20AC;&#x201C; with this portrait.

This is one of my favourite pictures. It shows two girls on a Sunday after the weekly church visit. They were on their way back home, around noon. I love the colours of their festive dresses and how naturally they stood there.

This portrait is part of the series Similar uniforms: We refuse to compare, realized in South Africa in February 2016. The series arouse very spontaneously, I was visiting in South Africa and saw the young students with their uniforms in the streets. I then installed a little photo station in front of a ingenieur highschool in Johannesburg, where I stood for 7 days,

4 hours a day. After two days they all knew me, and wanted me to take their picture. The sitter for this particular pigment print is Thembinkosi Fanwell Ngwenya Born 18.09.2001 The portrait was taken in February 2016 in Johannesburg, South Africa and focuses on issues of preserving individuality in the context of school uniforms.

From November 2012 to January 2013, I was in South Africa thanks to a scholarship of the Swiss exchange programm Atelier Mondial (ateliermondial.com). This picture was completely

spontaneous: I was driving my car and saw a cute dog, so I stopped. I then met the young owner, and as he realise that I was a photographer, he asked me to take his picture - with his dog and his best friend.

Yoav Horesh

“Serene Oasis” is a large format photography project I started in the fall of 2014 as a reaction to the growing racist and ignorant perception I encountered in Israel towards the “other” and the foreigner. The name for this project comes from the literal English translation for “Neve Sha’anan,” a small and poor neighborhood located in the Southeast part of Tel Aviv. This large format, black and white photography series not only concerns the neighborhood but more so emphasizes the human angle of this area. In creating this body of work, I strive to tackle and correct the general negative perception Israelis have about one of the most interesting and diverse communities in Tel Aviv. Neve Sha’anan was first established in the 1920s by Jewish immigrants seeking better lives. It became a symbol of pioneering, innovation, and prosperity in post World War I Palestine under the British Mandate. Today, the neighborhood and its residents are in the midst of a heated debate in Israel about immigration,

foreign workers, refugees and asylum seekers who arrived in Israel and the neighborhood in the past five years. The neighborhood is merely one square kilometer in size but includes an incredible variety of people of more than 40 different nationalities who live, work and are in fact a part of Tel Aviv’s cultural and human landscape. The project began with making mostly portraits of the diverse people who live, shop and work in Neve Sha’anan. Though since last spring, I also began to photograph the streets, the buildings, the parks and inside people’s homes. The mixed architecture, booming real estate, renovation and abandonment in Neve Sha’anan are inherently part of “Serene Oasis” which is on a rapid track of gentrification and change. Whether the change is for better or worse, working on this project is creating an important document of the streets and the people of Neve Sha’anan before the inevitable will happen. Nearly 60 million people are displaced around the

world because of conflict and persecution, the largest number ever recorded by the United Nations. About 14 million of those fled their homes in 2014. The increase in armed conflicts, economic hardship and civil wars on almost every continent created waves of immigration and millions of refugees in transit seeking asylum in foreign states in hopes to provide for their families and in search for a better future. The situation in Israel is only the tip of the iceberg of this world’s phenomena and could be treated as a case study. With this project, I strive to confront the ambiguous perception “locals” have towards the “others” worldwide and possibly change it by publishing/ exhibiting this work in Israel and abroad. The project also draws on my sympathy and support for the struggle these communities of African, Asian, European and Middle Eastern experience for recognition and basic livable rights in Israel.

‫הכל החל לפני ‪ 15‬שנה בעקבות תחרות צילום בנושא “חינוך ישראלי”‪ .‬חיפשתי בארכיון מין צילום‬ ‫“חינוכי” שכזה‪ ,‬ומכיוון שלא נמצא כזה‪ ,‬התחלתי לשוטט ברחובות העיר תל אביב לחפש אחר‬ ‫הצילום שיקרב אותי אל “התהילה”‪.‬‬ ‫כך הגעתי בבוקר שישי לבית הספר “ביאליק”‪ ,‬מקום שהעניק חינוך שווה לאלה שמוגדרים בחברה‬ ‫הישראלית כבלתי שווים‪ .‬בתחרות לא זכיתי בתואנה ש”ילדה שחורה על רקע קיר בית ספר לבן‬ ‫הוא לא חינוך ישראלי”‪.‬‬ ‫המשכתי לתעד את הילדים‪ .‬מהר מאוד הגעתי איתם למקומות הכי נסתרים שבהם לא דרכה אף‬ ‫רגל לבנה‪ :‬הכנסיות בשבת שם התפללו וחגגו ימי הולדת‪ .‬רק שהפעם הגעתי בתפקיד המורה‪/‬חבר‬ ‫של הילדים‪ ,‬כך שבמקום להידחף החוצה‪ ,‬התקבלתי בברכות ולחיצות ידיים‪ .‬תיבת זהב נפתחה בפני‬ ‫בכל פעם‪ .‬אוצר ענק שניגלה רק בפני‪.‬‬ ‫צילמתי רק את הדברים השמחים בחייהם‪ :‬ימי הולדת‪ ,‬חגים ועוד‪ ,‬עד יום הפיצוץ בנווה שאנן‬ ‫שבו נהרג עובד זר מגאנה‪ .‬עם השנים‪ ,‬הבנתי שהצילום והתיעוד הוא חלק מהתרבות האפריקאית‬ ‫והפיליפינית‪ .‬מה שכאן נחשב לאסור‪ ,‬אצלם הוא מתבקש‪ ,‬נדרש ומבורך‪.‬‬ ‫חייתי שנים בתוך הקהילה כשהצילום הופך להיות כוח לעשיית הבדל בחייהם של‬ ‫המהגרים‪ .‬צילמתי את המכות שהם חטפו ממשטרת ההגירה‪ ,‬את האלימות‬ ‫הבלתי הוגנת‪ ,‬הפחד‪ ,‬המרדף‪ ,‬העצמות השבורות‪ .‬ביקרתי בכלא את אלה‬ ‫שנעצרו ללא סיבה ובניגוד לחוק‪ .‬הצילום הפך להיות תרוץ או סיבה לעזור‬ ‫למי שצריך ‪ -‬אם זה בהבאת מזוודות למגורשים בכלא רגע לפני שהם‬ ‫עוזבים ללא כלום ואם בעזרה בבתי החולים‪.‬‬ ‫(כיום‪ ,‬אחרי שנים של תיעוד‪ ,‬נראה כי עוצמתו‬ ‫של הצילום נשארה גדולה כשהיתה)‪.‬‬

‫אילן ספירא‬

Marina Kozlova was born in Moscow, in photography Marina doesnâ&#x20AC;&#x2122;t search for right composition or great technic but a truth of the moment, in specifics Kozlova photographs her surrounding, the close family, friends, exactly the way they are. In her practise Marina find relation to artist such as Sally Mann, Imogen Cunningham, Jock Sturges and Evgeny Mokhorev. The truth is shocking, the truth is individual - somethings are hard to bear, but Marinaâ&#x20AC;&#x2122;s art makes the viewer understand and communicated with her inner world.

Iphonia & R Marina Ko zlova

emains

The Archive Magazine wants to thank all the people involved in the making, especially the photographers that took part in this issue. Thanks to everyone who sent photos, gave advice, and provided moral and artistic support. Special thanks: Yoav Dudkevich Keren Refaeli

See you in the next issue