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vertigE When I was asked to write the editorial for this third issue, I panicked, I hesitated, and haven’t stopped repeating these few words by Otto Gross: "Don’t ever hold back anything." So why am I so fond of ZEBULE? Why this issue? Because I abhor the routine, the fetid daily grind! Because I’m allergic to the standardization infecting our lives. Our clothes? Identical! Our smell? Identical! Our references? Identical! Even the spaces we live in have no soul! Because the layout of our cities throws me into a panic, streets all trapped by similar stores, dim industrial parks and luminous, saturated shopping precincts! Because reality shows and the evening news freak me out: rapes, homicides and wars… Even the weather is acting up! Because, thank God, there still is so much to discover, see again, peruse, invent or reinvent! Because I’m lucky to feel and hold my love of life, of meeting people, of pictures and images, sounds and words, ever pervading ZEBULE’s pages - and now I’ll share all this with you! Allow me to enhance these modest considerations with a passage from John Steinbeck’s The Grapes of Wrath: “And always, if he had a little money, a man could get drunk. The hard edges gone, he’d sit in a ditch, feel the earth softening beneath him. Failure, despair… all shrunk into a future that’s less menacing, the world becomes nice and understanding, the stars come so close you can nearly touch them and the sky is wonderfully mild, death becomes a soul, a sister of sleep. The stars hang so low that sadness and pleasure, all that touches. It’s the same thing, really. I’d like to be drunk all the time. Whoever says it’s wrong can come tell me to my face. Then, everything is sacred, even me.” Sophie Faucillion
sommaire couverture
by Nicolas Duc
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Christopher Anderson Andrea Crews
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Tassos Sofroniou 016 White Sands by Thibault Grabherr
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Moon Dust by Cyril Lagel
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It Takes Two by Nicolas Duc
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Castle of (H)Air by Robert Jaso
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Attrape - cŒur
Parfums by Anouchka de Williencourt
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Baby Alone in Babylone by Maud Bernos
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Aime Moi by Marjolijn de Groot and Emeraude Nicolas 096
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Dignity by Bence Bakonyi
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contributeurs EQUIPE PARIS Thibault Grabherr Cofounder of ZEBULE Magazine, Managing Director of the publication
Aurore Michaud
contact@zebulemagazine.com
Director of Advertising and partnerships advertising@zebulemagazine.com
Christophe Durand Cofounder of ZEBULE Magazine,
Benoit Cotten
Creative Director
Prepress manager
Marie Juncker
Sébastien Kosinski
Chief Editor
Webdesigner
& Photo manager mjuncker@zebulemagazine.com
Jean-Marc Sevin Technical Director
Sophie Faucillion Deputy Chief editor
Claudine Tzoanis Administrative
ZOLTAN+ Artistic Director
EQUIPE NEW YORK
studio@zoltanplus.com
Simone McKenzie Development & Communication
Grégory Bricout
in New-York, USA
Caroline Magre
simonem@zebulemagazine.com
Artistic Direction Enik
Déri
Collaborated : Benjamin Armand, Bence Bakonyi, Maud Bernos,
Graphic designer
Nicolas Duc, Marjolijn de Groot, Robert Jaso,
at ZOLTAN +
Gaëtan Kondzot, Cyril Lagel, Emeraude Nicolas, Mélanie Perego, Barbara Polla, Tassos Sofroniou,
Adelheid Blankestijn
Anouchka de Williencourt.
English and French translator
Les mentions légales Éditeur : Société LE PUB DES CREATEURS Société par actions simplifiée au capital de 31 200 € Adresse du siège social : 18 rue Villeneuve, 92110 CLICHY RCS NANTERRE sous le numéro B 529 327 322 Numéro de TVA intracommunautaire : FR 06 444549349 E-mail : contact@zebulemagazine.com ISSN en cours
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christopher anderson text by Sophie Faucillion photography by Thibault Grabherr
From February 14th to April 14th, Christopher Anderson, a singular figure within the Magnum Agency, shares a fragment of his life story with us by the picture rail of the hallowed gallery on the rue de l'Abbaye. A consistent exercise that seems as intense as Roland Barthes’ depiction of his Camera Lucida. It’s bitterly cold on Friday, February 10th, as icy as the frozen foods section, but I face and accept it as the appointment is worth it. I’m interviewing Christopher Anderson. He just arrived from New York. He passes the gallery threshold, I let him have his lunch and immerse myself in his pictures: a child, a woman, an elderly couple, New York glistening in the snow... It's coffee-time and we seek refuge in a small office. I reach for my voice recorder. Christopher is jet-lagged, his French is broken-down but enthusiastic. He starts talking. Already as a child Christopher was taken with the magic of the camera obscura. His sister had given him a camera as a gift. At school, more "objective" than others, he experiences the dark room. Just like Man Ray and Lee Miller, he develops his prints himself. An important period of his life! Although he stays focused on his visual experience, he works on a PhD in anthropology. But little nothings can change a life’s course. All it takes is a simple phone call: a newspaper asks him to perform in his dark room. The relentless worker he is accepts. And soon, word of mouth proves to have its benefits! Three months later, another newspaper offers him a contract but this time around as a photographer. It’s at this point he realizes that to capture images, moments of life, is a fully-fledged profession. As war rumbles in Bosnia, he lands in Sarajevo armed with a camera. From then on, he travels the troubled world of murderous wars. In 2005, he joins the Magnum Agency: "I chose Magnum and Magnum chose me."
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2008 is the year of his son’s birth, but it’s also when his father is struck down by a severe illness. His spirit dissipates, he questions the cycle of life and obsesses with it. No more Kalashnikov conflicts for him. His life struggle and philosophical position become generational, although he still adheres to the Magnum philosophy: "Magnum is a community of thought, a shared human quality, a curiosity as to what’s happening in the world, a respect for what’s happening in it and a desire to visually transcribe it." 1* Feelings and fears, a questioning surprisingly similar to what Roland Barthes formulated when, unsettled by the passing of his mother, he wrote in "La Lucida": "Madness or wisdom? Photography may be either: wise if its realism remains relative, tempered by aesthetic or empirical habits (flipping through a magazine at the hairdresser’s or the dentist’s), and mad if this realism is absolute and, so to speak, original, as it brings back the actual wording of time to our impassioned and alarmed minds: a purely repulsive movement that changes the course of the matter that, to conclude, I would call photographic ecstasy." Without a doubt, Christopher Anderson’s pictures are marked by this touch of folly! His project: a book called "Son", a collection of his generational emotions, of what once was, of what is and of what will be. But we’ll let Gilles Deleuze conclude: "The body is never in the present state. It contains the before and after, the fatigue and the waiting. Fatigue, waiting, and even despair are the attitudes of the body. No one went further along these lines than Antonioni. (...) Our daily attitude is what puts the before and after into our body. The true meaning of time is revealed to us by our body and our body’s attitude is what links thought to time, just like this extraneousness that’s infinitely more distant than the outside world. Maybe fatigue is the first and last attitude because it contains both the before and after." * 2 *1 Henri Cartier-Bresson * 2 Gilles Deleuze, L'Image-temps
and rea cr n e ANDREA CREWS by Gaëtan Kondzot photographer Chantapitch Wiwatchaikamol Anatomy of a bold concept at the frontiers of fashion and art. At its core, Maroussia Rebeck, radically out of Fine Arts and standing for the experimentation that lies within her designs. Andrea Crews has in recent years brought together a group of designers, musicians, filmmakers, and performers. This dynamic and delightful young group have distinguished themselves in the fashion world by integrating certain aspects of contemporary creation into their work: events, performances, and videos. They clearly and openly state it, they intend to design collections that also carry a whisper of fashion and clothing history by using vintage pieces or top designers’ basics in a novel way. The work starts off with a silhouette, an accessory, or a reworked piece. It’s then given a new line, a new style: that of "Andrea Crews"... The first time I went to one of their shows was in February 2010. It was organized at a residence of the "Hors Pistes" festival, an event of the ultra-hip Centre Pompidou that aspires to link new forms of production and broadcasting to contemporary art and cinema, but also to music and fashion and gastronomy. This show was certainly like no other. Maroussia Rebeck, the group’s leader, pulled the pin on the collection. It was presented in the main hall of Beaubourg where a skier’s changing room was set, all in blue, red, and white tonalities as if to taunt the illustrious idea of "French Identity" itself. A summoning of the new "Wretched of the Earth", stripped of all their wealth but for a gold-glittered survival jacket. Caught in a snowstorm but warmly and beautifully attired, wrapped in noble materials as if instantly teleported to an African paradise. "Hors Pistes" revealed itself as the true crystallization of Andrea Crews’ style. This exciting fashion made for an exciting show that enticed you to get to know more about this "crew". Sometime later, in midsummer, I met Maroussia Rebeck again in her showroom and she wore that same mischievous smile on her face. The mood was relaxed and sprightly despite the suffocating heat. Maroussia Rebeck briefly explained to me what her understanding of the Andrea Crews concept was: “I studied fine arts in Bordeaux. I wasn’t especially interested in fashion, not more than any girl who likes clothes. If I did go into fashion, it was because of the fact that through clothes I’d reach a maximum amount of people." The adventure we’re all experiencing within Andrea Crews is like an engine to us, a willingness to be confronted with other forms of expression, other cultures. We want to ‘surpass ourselves, reach out to others, discover that having our differences, we can still share the things we have in common. Even if I have to surrender on the final decision, what’s important is working together and the admiration we have, always, for the other members’ work. What we offer is a group adventure." As if in reaction to a self-centered and haughty social environment! "I’m saying it’s not so bad to keep those barriers erected. There is a system to fashion and it should be left alone. Obviously, it’s getting a little old, but I'm not trying to be reactionary. Instead, I offer something closer to derision. More than recycling, it would be called an art of diversion that takes history and fashion analysis into account in order to interpret my very own story." Now, after having received the recognition of the fashion world, the Andrea Crews tribe has found its aficionados from Paris to New York, then from Tokyo to Moscow, then finally to rue Vauxcouleur.
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ConquERORS E F I L Y A D Y OF EVER Tassos Sofroniou Interview by Barbara Polla photography courtesy of Tassos Sofroniou
I met Tassos Sofroniou on an icy Sunday morning in February, at dawn. Geneva was deserted. It was the day after the production of Glory, the dance performance for which he designed the costumes. It sold out. Coffee. Black. Outside the city is white. Tassos Sofroniou comes from Izmir and Chios. He was born in Germany, grew up to the sound of Rembetiko into a family of musicians, Greek style jazzmen and singers. He was a swimming champion and was offered his first job when he was only twelve. He’s now forty and lives in Athens and around the world, and speaks English perfectly. He’s created his own clothing line: Conquistadores - more than just clothes, the brand incarnates a lifestyle - now available at “Bal des Créateurs” - and so now, he’s just designed the ballet costumes for Glory, performed at the BFM in Geneva to Handel’s music. Sofroniou listened to this music throughout the creative process. Tassos Sofroniou’s costumes and Handel’s music? Baroque and glorious both. How come the people of that period thought of themselves as divine, wonders Tassos, who in a way considers himself an heir of that period? Every day is a conquest, every moment of every day. Men today are expected not only to be men, lovers, fathers, and successful businessmen. They’re also supposed to live life to the fullest and explore, reinventing the world. Every day is a journey, a new experience. In Greece currently more so than elsewhere. "We are the Conquistadores of everyday life, we get up every morning to conquer one more day. We raise the red velvet curtain that conceals the world stage from us and
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enter straight into our world, streets, city, and stage. In order to do this, just like Glory’s dancers, we need a costume, an armour. Not just any armour... My armour is my jacket and my helmet is my hoodie. The clothes I design act as symbols that allow me to recognize the other conquerors in the streets, by their looks and their to style.» Tassos Sofroniou is interested in masculinity - a masculinity that to him goes hand in hand with this conquering rebel spirit he grew up with. To him, the mere fact of being a man, being the person he wants to be - not the one he’s expected to be by his family or society as a whole - is an act of rebellion. His numerous credentials come from his design studies at university as well as from the traditional costumes of 16th century monks, tribal cultures, and the eternal Greek warriors. Cotton and leather, minimalistic and baroque. “My clothes are for everyone, regardless of race or age. In fact, age no longer matters. You can go clubbing with your grandfather and listen to Lady Gaga together. An eight-year-old dresses just like his father and his grandfather, only a few sizes smaller. We are moving toward an ageless reality. Vanguard no longer exists. Expression lines are fashionable nowadays and the former champion that I am now swims in the deep city waters that flow through its streets and its strain. I wade in sub-culture. I work with small details and am delighted with them and with every step and encounter made on the way. It’s Sunday morning, let’s have some more coffee.”
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white sands PhotographeR thibault grabherr REALIZATION Marie Juncker STYLIST mĂŠlanie perego
Shoulder straps Leloo, silk bra and pants Peachoo+Krejberg, leather bracelet and wooden brooch for hair Vincent Richard de Latour
Top Peachoo & Krejberg, leather skirt Gustavo Lins, necklace and ring collection "Gargouilles" Insolyte Joaillerie
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Woolen vest Franck Boclet, pants Peachoo & Krejberg, ring "Dragon" Elise Dray, ring "Ressort" and "Relief" Insolyte Joaillerie, bag Jarl AlĂŠ 8, shoes Walter Steiger
Woolen vest SPRB, necklace and bracelet Vincent Richard de Latour
Photographer Thibault Grabherr Realization Marie Juncker Stylist MĂŠlanie Perego Make up Juan Romero Muah Hair Fabrice Perissinotto with Redken products Model Fabienne Maibach @Option Model Agency Assistants Cyril Combettes & Edvinas Gliebus @Le Bal des CrĂŠateurs Special thanks to Whitepod Resort
Fur jacket and boots Peachoo & Krejberg, tights Wolford
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Dress Theyskens Theory
Coat Songzio, pants Maison Martin Margiela
Photographer Cyril Lagel Art director Benjamin Armand Make up Corinne Lebreton @B4 Agency Hair Gaspard @B4 Agency Manicurist Kamel @B Agency Model Lisa Bommerson @City Models Dress Theyskens Theory
PARIS - GENEVA Email : contact@t-forme.com Tél. : +33 (0)1 71302003 Photographie Thibault Breton - Graphisme KogiProd
Bagues mythiques, ondes magiques...
it takes t o PhotographeR Nicolas Duc
Woolen Vest SPRB
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Sofie Pants SPRB, top Peachoo & Krejberg Franck Top Peachoo & Krejberg, bracelet Vincent Richard de Latour
Coat Gustavo Lins, necklace Vincent Richard de Latour
Franck pants Sandrine Philippe, coat Gustavo Lins Sofie coat Gustavo Lins, pants Peachoo+Krejberg
Franck shirt Gustavo Lins, pants Sandrine Philippe Sofie shirt and pants Peachoo+Krejberg
Sofie coat Peachoo+Krejberg, pants SPRB Franck fur vest Peachoo+Krejberg, pants Sandrine Philippe
Photographer Nicolas Duc Styling by Zebule Magazine Make up Christophe Durand @B Agency Hair Christophe Durand with Redken products Assistants Lysiane Mollar & Juan Romero Muah Models Sofie Nielander @Karin Models & Franck @Le Bal des CrĂŠateurs
Pullover & pants Peachoo+Krejberg
Sofie fur coat Peachoo+Krejberg, leg pants SPRB Franck fur vest Peachoo+Krejberg, pants Sandrine Philippe
At e l i e r - B o u t i qu e S a n dr i n e P h i l i pp e 6 ru e H é rol d 7 5 0 0 1 Pa r i s w w w. sa n dr i n e p h i l i pp e . c om
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ZOL TAN paris san francisco new media web design graphic design branding & consultation www.zoltanplus.com
ZOLTAN+ aime l’art contemporain Our branding and webdesign company presents the Hungarian sculptor, Villő Turcsány and her most amazing installation, the PENDULUM TUNING, at Museum Kiscell Municipal Picture Gallery, in Budapest. The sculptures are suspended at the highest point of the church, allowing them to make pendulum movements. Computer software controls the cycles of the spatial choreography, determining the rhythm and intensity of each of the four sculpture’s movement. Curator Peter Fitz Photo @Gergely Eortzen-Nagy
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PhotographeR Robert Jaso
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Photographer Robert Jaso Make up Christophe Durand @B Agency Hair Olivier Lebrun @B Agency Models : Nastya Domoratskaya @Exclusive Management Ellada Paulina M. @Metropolitan
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[ P ar fu m s photographer Anouchka de Williencourt
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célèbre les 25 ans de l'Eau Dynamisante de CLARINS Jenna Courtin Clarins nous ouvre une page du livre de son enfance en revisitant le flacon de l'Eau Dynamisante, à l'occasion des 25 ans du produit phare de la maison Clarins. La petite fille du fondateur de la marque se souvient des vacances d'été au soleil avec son grand père et son père, et de la tendre effluve qui berçait l'atmosphère. Un orange chaud pour rappeler le soleil, un écriture en braille puisque l'odeur se suffit à elle même. «No need to see it, just smell it.»
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text by Sophie Faucillion photography by Maud Bernos Let’s head offshore, far from Gaza’s wail - a cry that seems to spread toward ‘the immortal’, then quietly drifts ashore on one of ‘Bubble’s’ beaches. Tel Aviv is the other Babylon. It’s also the other city that never sleeps. One night Baby Alone in Babylone - photographer Maud Bernos - went for her customary stroll along the Shlomo Lahat promenade. "I love the night lights, I love the crowd and the nighttime encounters", she tries to conquer just a little bit of colour, slowly stepping into the colour of ‘Freedom’ (the J in l’abécédaire de Gilles Deleuze - a French philosopher - stands for a much-needed joie de vivre !). A couple lying languid in the sand finally ceases to crawl, at last letting their flesh tangle without fear of being threatened by the aversion of Aphrodite’s hymn. A peaceful fisherman, rod in hand, seduces the fish that dwell near the shore when night falls. A child riding a powerful mount bolts galloping to the sea to stop his faithful ‘mixed-blood’ from remembering the rote of the waves just belongs to a mythically forgotten god. Yet, even in this haven of peace protective barriers unceasingly stretch to contain the ‘Bubble’s’ relief and appeasement! But waters that run deep never give in, especially for such a cause. The gentle Mediterranean resists and unfolds onto its sheets of makeshift shacks, shattering them with benevolent steel in an effort to spread Tel Aviv’s abundance.
That same evening, Baby Alone in Babylone, standing alone on the threshold of tides sinking into darkness, cannot ever forget that just a dozen miles from where she stands, strange projectiles with terrible intentions criss-cross and take aim to spread the terrible smell of fury, blood, and power! Baby Alone in Babylone can’t help but think "the furious and incontrollable waves that clash and break are, metaphorically speaking, the violent emotions that took hold of me there." Baby Alone in Babylone will never, I’m certain of it, let herself be submerged by the lethal powder. Her long walks in the night will always quench her agonies.
MARJOLIJN DE GROOT AND Emeraude Nicolas
Genuinely Converging Into One Artistic Duo
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by Sophie Faucillion photography by Marjolijn de Groot & Emeraude Nicolas Sometimes you meet people who renew your enthusiasm for teamwork. On that particular Tuesday, it was meeting Marjolijn de Groot, a photographer, and Emeraude Nicolas, art director for Ultra Pointu, that restored my faith in collaboration. They hooked up on Facebook. Emeraude, as an art director, already knew Marjolijn’s work and quite naturally, she felt she couldn’t let the relationship just remain in its virtual state, as obviously social networks leave little room for the blooming of a non-virtual partnership. They made an appointment on the spot. Once they’d introduced themselves, they started at once by developing a niche range of trendy beauty products. Emeraude quickly gathered her troops, a battalion of fierce, arty artisans, starring Astrid Bergès-Frisbey; make-up: Vera Dierckt; text: Dominique Cozette; artwork: Nicolas D'Olce, music and sound design: Nick Bump… A couple of months later, a rapturous and captivating series of photographs and a video came out: lines take shape and tense up, finally gaining some density. A distraught glance comes to find serenity. A face powdered purple and green, as the pictures unfurl gradually, sheds all artifice. The emotion and intensity of the eyes’ and mouth’s expression are underlined by elusive lines and the recurring words ‘Love me’. It sounds crystal-clear. Then come the sighs and murmurs, and now this obsessive sentence ‘Love me the way I love you’. It’s an allegory you don’t tire of watching over and over! This picture melody really is the kind of collective endeavor that works thanks to harmony and agreement. A true hymn to the transformation of the anguish that comes with a new passion into an admitted feeling of easy simplicity!
click here for video
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dignity Please Stand Aside for the Most Conceptual Bence Bakonyi by Adelheid Blankestijn photography by Bence Bakonyi
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Behold as before thee emerges the skill of Bence Bakyoni. Young, gracile, and a bit of a poète maudit it seems, this Hungarian photographer is making promising progress. He’s already produced enough for us to grasp the essence of his work and get a glimpse of the man behind the lens. Although somewhat shy he gives us hard contrast, conceivably in an attempt to define himself clearly. As you can see, Bence Bakonyi’s artistic identity has already dawned. What’s less obvious to the naked eye is the metaphysical questioning that seized him with a vengeance: the very same body-mind problem Pascal and Leibnitz have struggled with in their day. “I cannot escape from the fact that I struggle with myself. It has always been a difficult question for me: do I know him? Who is he anyway? It's so alluring, sometimes as if the will of the body would want to swallow me, leaving my thoughts behind, but then comes the soul to pull me back. It's an eternal battle and a game.”
Now, Bence is no sloth when it comes to looking for crucial answers. He’s dedicated the past years to creating and envisioning, sweating blood and harvesting success, to the point that he seemingly lacks air in his native Hungary - where his digital work and classical photography were to be seen in the galleries of Budapest and elsewhere. As you may be aware of though, the political climate has been as nocuous to artists as to other minorities. So his work first made its way abroad in 2010, to Prague’s cultural centre. Then collectors in London took hold of his photography, and just now an extended stay in the Far East has been announced and confirmed. Destination: the mythical Shanghai, exotic to the extreme. Bence Bakonyi’s opus named “DIGNITY”, of which we here offer you an overview, is to be exhibited there in February 2013… His contribution to the previous year’s event in Budapest’s Ludwig Museum, “XY Human Dignity and The MOME Generation”, has evidently not gone unnoticed.
The MOME Generation Bence sprouts from came into existence in its namesake lab at Budapest’s Moholy-Nagy University of Art and Design, where a perplexing program is being conducted. Chancellor Kopek explains : «There is something that is untouchable in all of us. This something is unrelated to countries, regimes and even to people. It springs from life itself. From the unique, inimitable expression of human existence.» Once you’ve got that, he concludes, you can realistically strive for perfection. Well, if that doesn’t spark your interest! Mr Kopek, Buda’s Buddha? All we know is the method relies on integrative thinking and the appreciation of the contemporary scene. Bence clearly gets it. (A photography Bachelor of Arts will shortly certify this.) Maybe it’s his fondness for philosophy. It does come in rather handy when one aspires to conceptual art, does it not? Supervised by his professors, he has abandoned esthetic attributes to focus on the concept of art itself, resolutely disregarding Kant and his obsolete definition. To Bakonyi, the idea takes precedence over its realization. And ideas are a commodity he happens to possess in plentiful amounts.
graphisme : tabaramounien.com / photos drellaforever.com
Richard de Latour www.RicharddeLatour.com
Spring / Summer — 2013