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Categoría: Photography

Andrés Reisinger

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 414

Feature · Andrés Reisinger
Words · Matthew Burgos

Experimenting with boundaries until the intangible becomes tangible

Testing the limits of the boundaries communities and self impose shapes the utopia Andrés Reisinger aspires to manifest. His visual artistry intersects art, design, music, architecture, fashion, and beyond, always moving along the waves of culture and never settling for anything marked as conventional. The results give birth to the manifestation of a hybrid reality, one where the intangible becomes tangible. The duality of the physical and digital realms, the fruition and transition from a blueprint to reality, the faces of strangeness and their unearthly appeal, and the celebration of a newborn: everything moves in and out of Reisinger’s creative ethos.

NR: The first thing that caught my attention was your title on Instagram: Unclassifiable Artist. Does this indicate the millions of ideas you want to test and of creative endeavors you want to venture to?

AR: I would agree with that. I have been inspired by the Argentine writer Borges, who was also Unclassifiable. I am focused on constant self-improvement, constant experimentation, constant development; wherever it takes me.

My task is to keep discovering and introducing new mediums of work and ways of experiencing art and design. So, my practice cannot be easily classified, because it is not something that I can fully classify yet, and I probably never will.

As an artist, how essential is it to be multidisciplinary? Do you think a creative should focus on a single discipline in art?

My work is based on pushing the boundaries between the digital and the physical realms to achieve hybridity. In this sense, I consider and love visual culture as a whole, essential in all of its  declinations. There are incredibly interesting intersections that we are seeing and can be further developed between art, design, music, architecture, fashion and so on, and my work is heavily focused on context rather than by piece. Only by mixing different ideas and connecting them will we create new ones.

From Argentina to Barcelona, how do the cultures and communities in these countries – and the others you have been to – influence the way you conceive your works? Can your viewers see the nuances of these cultures in what you create?

Most of the places I have lived in are in South Europe, so my works are heavily influenced by culture from the countries here. These places, for many reasons, have been central social territories, which is something that has influenced my approach to creation and the way I have been sharing my journey on the internet since the very beginning of my career (approximately 15 years ago when I started with digital art and design). I have always felt the need to share the way I see the world.

Let us talk about your works. I want to start with An Essay Before Meeting my Daughter. Congratulations, first of all! How do you feel about being a father? How did you celebrate it? Did you feel worried or excited?

I felt all sorts of emotions. It is an experience that cannot be truthfully described or translated. It feels like I am flourishing. It is a novel way of looking at the world. It is an excellent way to cultivate perspective. The way you manage your time, your ideas, and your instincts: they all grow. It is a great challenge in life. It is amazing, and I love it.

Continuing this, you wrote: Anxiety, nervousness, happiness, fears, beloved moments, all that are absorbed and expressed through my artistic lens. Could you guide us on the metaphors of this piece, from the rolling apples to the flipping pages of the books?

The piece was the result of a long reflective process. I wanted to gather and somehow express all the feelings and thoughts that guided these moments of my life, and the piece came very spontaneously as the emotions naturally channeled themselves into form.

With The Shipping, it is the manifestation of a new hybrid reality concerning furniture. How do you envision the future of design in furniture? Would technology replace manual labor?

«I see it as a hybrid of digital and physical; the encounter between the two is already offering an overwhelming amount of possibilities.»

And although it might seem a very futuristic scenario to some, we already spend a third of our days connected to any device screen. We are undoubtedly living in a time where our physical lives are and will continue to be more and more integrated with the digital realm. And as we get more comfortable living in these different spaces, we will get more and more used to owning things and living there.

There are of course differences between the two realities that will never compensate each other. Technology will make things earlier in production, that is for sure, although I cannot say which mode is easier. One thing I can say is that creating a digital chair – such as Hortensia, Tangled, Complicated Sofa, or Crowded Elevator – was the most difficult thing I have ever attempted. Technology can help us do more creative work and less mechanical procedures. Artisans will always exist, and they will benefit from new technologies.

I love the backstory behind The Hortensia Armchair, from having been a concept to a real seat! What made this project challenging? How did you take on the challenge? Did you learn anything from this experience life- and design-wise?

Because it was such a complex design to realize, I was doubting whether to invest time and money to bring the chair to life, so I guess the challenge was against myself. I am incredibly glad that I decided to go for it.

What I am most proud of is that the Hortensia Chair created digital demand before the supply, which is a total disruption within the design industry. We were able to build an interest around a digital object that seemed almost impossible to realize and gave life to it first through a limited edition and then with Moooi in a more affordable version.

It was an interesting phenomenon to witness, with regards to sustainability, most especially. We did not launch another project, hoping for the market to accept it. We created the need first digitally. It showed to design and other companies that this is definitely a possibility.

Continuing the previous question, what do you do when you want to make the impossible possible? Have you ever felt like dropping a project halfway? What made you continue it?

I work with context and try to, in part, deform reality to achieve a surreal atmosphere. That uncanniness between reality and fiction, digital and physical is to make the impossible possible. I do not want my work to be too explicit, or it would defeat its purpose. If it is too blatantly strange, it is instantly dismissed, but if it is not so strange but just enough, it is instantly absorbed into everyday reality. I strive for a slight strangeness leaving the viewers disoriented.

Generally, challenges inspire me, so I have rarely thought about dropping a project halfway.

«If I recognize the possibility of discovering a new production methodology, a pioneering approach within the physical and digital, I will strive to see it through as I know I will learn a lot during the process.»

As we focus on Celebration for this issue, how do you feel about what you have achieved so far in this lifetime?

I am proud, I am humbled, and I am projected into my practice.

Is there anything that we should be celebrating with you in the upcoming weeks?

In mid-January, I presented Winter House, a residential project in the metaverse inspired by the frosty season. It is an important one I would  like to celebrate as it represents the preliminary project of an architecture studio for the metaverse I am establishing with other partners. There will be more – a lot more – but 2022 has just started.

Credits

Images · Andrés Reisinger
https://reisinger.studio/

Nina Raasch – Fabiana Vardaro

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 396

Credits

Model · STAN at FORD MODELS PARIS
Photography · NINA RAASCH
Fashion · FABIANA VARDARO at COLLECTIVE INTEREST
Casting · ELI SCHERER
Makeup · SABINA PINSONE
Hair · DIEGO FRAILE
Fashion Assistant · FILOMENA IANNICIELLO

Bettina Pittaluga

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 358

Feature · Bettina Pittaluga
Words · Ellie Brown

«I find my inspiration in reality, so usually everything is already there.»

When photographer Bettina Pittaluga talks about developing film, she describes it as painting a picture – retrieving the details within the image, matching the exact skin tone of her subject. If the photographer finds joy in the technical processes of her work, it’s equally joyous to look at the final result. It is evident in Pittaluga’s photography that she approaches the development of each photograph in the context of its individual circumstance, ‘painting’ colour as it is most appropriate. In the broadest sense, her photography evokes a warmness, which Pittaluga communicates in different ways. Sometimes, her images are so dark that it’s only in the contrast of illuminated features that we see the subject, as in Pittaluga’s portrait of Dior’s Maria Grazia Chiuri for Le Monde’s M magazine. Elsewhere, her work highlights barely the curves of an upper arm, the contours of a profile, or the soft glow of a pregnant stomach. But other images can feel like an explosion of colour – a vivid red, or a minty green. It just depends on the natural lighting that the photographer finds herself working with. 

Pittaluga’s photography is defined by the moment that it captures; natural lighting plays a part in that, but so does the emotional bond that the photographer forges with her subject. Regardless of whether she is working on commercial and personal projects, Pittaluga maintains that having a connection to her subject is essential. “My way of communicating does not change,” she tells NR, “I will always be looking for what the person wants to give me.” In a way, Pittaluga is sharing with the viewer what the person, or people, she photographs wanted her to see in the first place. The issue’s theme of celebration is an apt opportunity to contemplate Pittaluga’s work (or, rather, celebrate it) because every image is a celebration of some kind. Whether photographing a milestone – birth, love, and so on – or just capturing a moment that becomes immortalised by her camera, Pittaluga’s work is always a celebration of being human. 

NR: There’s a warmth and intimacy to your work and the way you photograph people; is this an approach that you’ve always had in your work, or something that you’ve adapted over time?

BP: I don’t think I could take a photograph in another way. I think the way I photograph is intrinsically linked to the way I communicate; I need to communicate with the other person in order to capture them, in every sense of the word.

NR: You’ve previously mentioned the importance of forging a relationship with the person you’re photographing, whether that’s over a couple of minutes or much more established over time. But besides that, are there any other fundamentals that are important to a good photograph?

BP: I would say that the fundamental thing in a good photograph is to convey a truth; the reality of the moment. Of course, I need intimacy too, but I am always looking for truth. That’s the thing that want me to take a photo.

NR: When it comes to a composition, how much of the staging is a collaboration with the subject?

BP: I find my inspiration in reality, so usually everything is already there. I don’t prepare the set; it’s much more about lighting – natural light – which give me an idea of what I want. I also look for the shape and the form that I see with the light; the colours; the way the person is sitting or looking. Suddenly, it’s like I see something – I don’t know how to describe it because it’s very instinctive.

«When I am looking at the picture [afterwards], I can recognize the composition, but I would not be able to explain it when I am taking them.»

NR: What’s so compelling about your work is the fact that it doesn’t, as you say, look staged. It looks very natural. 

BP: I love to shoot people in their own home because of that. I know that I will find something very intimate, not because of the intimacy, but because you can really learn about the person. Usually, I don’t know where I’m going to [shoot], so the only thing that I will ask is whether there is natural light that I can play with. But then it’s also a conversation. Sometimes people are like, “what should I wear?” and I always respond by asking, “how do you want to be represented?” I really want the person to feel comfortable and to be represented like this. And then it’s just about materials and colours – because the lighting is not the same with silver, or it’s not the same with pink or green. But again, it’s about the moment – it’s a feeling actually.

«The detail is the most important thing, it’s the emotion, which I cannot prepare in advance.»

It depends on the person in front of me. I’m following [them] in a way, I’m following what they want to give.

NR: You mention how different colours can affect the photo. Over the course of your time as a photographer, have you learned different techniques for using colour and how it will affect a photograph? 

BP: I started photographing in black and white at first because I wanted to develop the film myself. I wanted to know how it works, so it was very important for me to oversee the whole process from beginning to end, when you have the pictures actually in your hand. People [had] said that it was very complicated to develop colour. And it’s really not the same process, it’s very long. But I learned how to develop colour two years ago. I think it’s true that I can see the evolution in my work [when] colour suddenly had more importance. Developing colour is like painting, it’s amazing. You have something neutral, and you can add the colours that you saw. At first, I spent, I don’t know, like seven hours on the same picture, just playing with colours, getting the exact colour of the person’s skin. By developing yourself, you can get great reds, or a really great yellow – so it’s true I am more obsessed by colours now than before. And it’s also about seeing colours with light – it’s a completely different world. Before, maybe I was seeing in black and white without knowing it, and now I can see colour. 

NR: When you do the whole process yourself, it changes the way you feel about it – you don’t just press the button and wait, it’s the whole thing.

BP: I don’t take that many pictures because, with analogue, I only have ten pictures per roll.

«That’s why I love this process because it’s about taking time, I’m not in a hurry. «

Well, sometimes I only have one minute to take a photograph, but sometimes you can be really in the present and one minute feel long, so it’s how you take the time. That’s why I really love it also, it’s about taking time. 

NR: It’s interesting that you describe developing colour film as being almost like a painting and it made me think, do you see your work as more being about reportage? Or is it more art? 

BP: I don’t like labels and I don’t see my work as just one thing, but maybe I’m a portraitist? It’s more this way that I see my work, but it can be a lot of different things. It can be a portrait for press [work], or it can be more artistic. But I always feel poetic. No matter what the project, at the end of the day, it’s about human beings so, that’s why I think I identify more as a portraitist because most of my work is about human beings. 

NR: The theme of this issue is celebration and I guess what’s lovely about your work is the way that it celebrates people, it celebrates the human form and the diversity of what it means to be a person. How do you feel celebration comes across in your work?

BP: Actually, I’m so glad you asked that. I think it’s one of my favourite questions ever and this is the first time that someone has asked. To be asked as a photographer to photograph a celebration of any kind – celebrating a child, love between two people, a transition: any kind of celebration. To me, it’s truly an honour. I think it’s the most beautiful thing about my job to be given this extraordinary trust and to be there together, to celebrate, because in a way, I am also celebrating that moment, you know? 

NR: I think that ties in with something I wanted to ask you, which is that you’ve spoken previously about the concept of beauty and authenticity, whether that’s a relationship, or of a moment. How much of your role as a photographer is about being there, in that moment, and how much of it is just about pressing the button and waiting for that one shot?

BP: I don’t think you can separate one from the other. And maybe that’s what’s magical in the end – to be able to share the present together and look at it later in pictures. Usually now, with social media, we can take pictures all the time. [So as a photographer], it’s also about the fact that you cannot look at [the photographs] because it’s analogue.

«I cannot look at it straight after, so in a way, I continue to be in the moment.»

NR: As an analogue photographer, does having access to instant photography, with a phone and on social media, does it make you appreciate film more?

BP: I feel lucky to live in a moment of time when it’s so easy to take pictures. My cameras are very big and heavy, so I cannot have them [on me] all the time. To be able to take pictures anytime – and I film a lot because I like that an instant can last more than just a second, it can be longer. I love being able to record a long moment of softness or a long moment that I found beautiful. So, I’m always recording with my phone, and I love it so much, it’s amazing to be able to record so many things that inspire me in the day. No kidding, I think I have 30,000 videos [on my phone] and I buy a lot of memory. As a human being, it’s my way to express myself, to take 100 pictures of a flower in front of me if I want. It’s freedom. But with analogue, like I said, I really draw a portrait of someone, so it takes time and I love that. 

Credits

Images · Bettina Pittaluga
https://www.instagram.com/bettinapittaluga/

Nicolò Parsenziani

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Nicolò Parsenziani

NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 336

Spring has Sprung

Credits

Models · DAMI ADERONKE and CECILIA GIGLIO TOS
Photography · NICOLÒ PARSENZIANI
Fashion · DILETTA ARIANO
Casting · MATTIA MARAZZI
Set Designer · ALICE ARIANO
Makeup · CLARISSA CARBONE
Hair · ERISSON MUSELLA
Digital Assistant · DAVIDE LIONELLO
Fashion Assistants · DILETTA RIVIERA and ANNA BIANCHI

Raffo Marone

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 290

After Party

Credits

Photography · RAFFO MARONE
Models · DIANA SKOWRON at NEXT MODELS and HANNA KOBIALKA at FASHION
Fashion · MIRKO DE PROPRIS and VITTORIA ROSSI PROVESI
Casting · MATTIA MARAZZI
Set Design · VERONICA FERRARI
Makeup · FRANCESCA GUERRA using LORD&BERRY
Hair · PIERA BERDICCHIA at WM MANAGEMENT using BUMBLE&BUMBLE
Fashion Assistant · PIETRO CAVALLARI, REMI VANACORE and MORGAN DILDAR

Malerie Marder

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Malenie Marder

NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 270

Feature · Malerie Marder
Words · Ellie Brown

«We only have a short time on this planet and it’s impossible for me not to be in touch with people’s pain… So maybe I’m celebrating people’s vulnerability and softness»

If Malerie Marder is something of a voyeur, her subjects are never unaware that they’re being viewed by the photographer, her camera and us, the audience. In fact, the subjects of Marder’s intimate work often know the photographer intimately herself. In Carnal Knowledge, a body of work published in 2011 spanning ten years, Marder photographed family, friends and herself – usually in a state of total undress, often in seedy motel rooms or within the interiors of suburban Middle America. Despite the voyeuristic quality that exudes in her work, Marder somehow pulls back from an overtly sexual image. Perhaps this is because of a mundane, yet alluring, encounter the young Marder had, as a photography student under Stephen Shore’s direction at Bard College in the early 1990s – one which would define her future practice. Marder was invited to photograph a family friend engaging in an illicit affair with a married lover in a hotel suite, using the techniques she’d just been learning at college. But if the lasting impact of that first commission speaks to the mise-en-scène of the photographer’s work now, so does the fact that the lover, after the affair ended, demanded for the negatives afterwards. “I’ve been trying to re-create those pictures ever since,” Marder told Artforum in 1999, “simply because they were worth burning.” Naturally then, some of Marder’s images verge on the erotic – capturing a moment that feels, as the viewer, like an intrusion. As the photographer tells NR, there’s always something of a mystery within her work, where it’s not always quite clear what is going on.

But Marder’s work is never accidental, and often staged. This is most obvious with pictures that seem to make direct reference to art history; take Bath House (2001), for example, in which a scene of (majority male) nude bathers are positioned in such a way to recall one of Paul Cezanne’s paintings of bathers from the late nineteenth century. More recently, Marder’s second body of work, Anatomy (2013), plays with art historical references for different effect. The series, taken over four years, sees Marder photograph sex workers in Rotterdam, positioned in different settings within the private spaces in which they work. If Anatomy captures an intimacy like Carnal Knowledge, it’s less the fact that we feel like we’re intruding on a private scene, than a behind-the-veil glimpse into the lives of these women – the spaces they occupy, the relationships they make with one another, Marder, and the camera’s lens. In one image, Marder’s subjects are positioned in a way that recalls Henri Matisse’s La Danse (1910) – but if that painting has a joyful lightness to it, Marder’s photograph, in response, is more grounded. And perhaps that’s where the essence of Marder’s work lies; between the emotion that the sight, or the thought, of the nude body evokes, and the candid nakedness that we really see.

NR: Since that first encounter, shooting a family friend and her partner, (how) has your approach to photographing changed?

MM: I think that first encounter showed me what an illicit affair actually looked like. Those are the moments I centred on – the explosion of emotions, the secrecy, the desire — the fact that I was actually able to capture that when I was in the whirlwind of what was unfolding showed me I could perform under pressure. I think my set ups have become more tactile and I can more easily identify what I’m looking for, but the more comfortable I become, the more I push myself. I try to transcend what I’ve done. There’s always resistance, both externally and internally, but this is universal. This is not just endemic to me. 

NR: How do you negotiate with your subjects when taking their photograph? How much is staged by you, and by the subject themselves?

MM: I decide on the setting and then we both figure out what comes next. Some of it is more choreographed by me, but usually I end up capturing an aspect of them that is revealed.

«It’s like writing — you have a sense of what you want to say but you haven’t yet written the words.»

NR: What informs the setting in which your subjects are photographed? Do you choose a location depending on the subject, or vice versa?

MM: Both — sometimes I’ll see a place and wait for the perfect person to match that character, or I’ll meet someone and try to hone in on where I should photograph them. I find people are more fascinating than most places, so settings are harder to procure. 

NR: How does ‘celebration’ tie into your work; if you were to ‘celebrate’ something, what would that be?

MM: That is a genuinely a fascinating question. I like the idea of celebrating people’s beauty. I’m a fanatic about light and I like there to be a certain mystery — I feel both create a kind of romanticism, even if it’s on the melancholy side. But that does not mean it is any less of a celebration. We only have a short time on this planet and it’s impossible for me not to be in touch with people’s pain… So maybe I’m celebrating people’s vulnerability and softness…

NR: Something that has been said of the Anatomy series is the lack of ‘you’ being in the work; how important is it to have a relationship with your subject, and is it important that there is an element of “self-portraiture” in your photography? 

MM: It’s only important when I’m purposefully playing a part in the picture. Often times, I end up being in the picture and I’m just part of the shadow… helping the image along, but then there are times where it is more compelling for the viewer to know it is me.

«Self-denial plays a large part of what I do; I sincerely doubt I am in any of my pictures.»

NR: In terms of creating an image, how does colour (or its absence) play into your work?

MM: It plays a big role. For me, black and white is more like a sensual memory and colour is closer to present tense. So, when I try to create a dream-like state, I find it easier to say it in black and white. I still attempt to do this in colour as well. I group images by colour, and certain colours mean certain things — or elicit certain emotions or feelings. I try to saturate as much colour into an image as possible even if it borders on garish. A little like how Douglas Sirk filled his compositions in “Imitation of Life” with flowers — one long funeral. I am not sure what the saturation of colour means, but I think it is my attempt to overwhelm reality with as much beauty as possible — otherwise the darkness creeps in. You can still see it, of course. 

Credits

Images · Malerie Marder
https://maleriemarder.com/

Alessandro Mannelli

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 258

Credits

Models · Ara Ha (Fabbrica Milano), John Godswill (The Claw), Igor Szymanski (Why Not Models), Rashida Mamudu (Select Model Management)
Photographer · ALESSANDRO MANNELLI
Stylist · MARCO DRAMMIS
Makeup · ALESSIA STEFANO
Hair · ALESSIA BONOTTO
Casting Director · IRENE MANICONE
Stylist Assistant · ROCCO COLLAZZO
Stylist Assistant · GIULIA BASILE

Laila Majid

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NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 246

Feature · Laila Majid
Words · Ellie Brown

«I’d like to situate my work within a moment like that, one which teeters on an edge between oppositions.»

For the artist Laila Majid, exploring the relationship between materials and the body is a recurring theme. Her artwork, Rosie (2019), for instance, is a close-up shot of the imprint of a trainer on the calf of a friend’s leg having been sat cross-legged for a period of time. The markings of the shoe and stitching of the fabric are punctured by the ever-so-slight presence of hair regrowth – the effect is an almost surreal investigation of the similarities between the two surfaces (the now-absent trainer; the skin after wear). Rosie was exhibited as part of the Nude show at Fotografiskia, Stockholm, as well as being selected for the prestigious Bloomberg New Contemporaries show in 2021, with Majid explaining in an interview for the exhibition’s platform that, by “morphing [the body] into a new and unfamiliar form” what we think of as being real is destabilised. That much is apparent in Crease (2021), exhibited at the Slade School of Fine Art MA degree show, in which a black and white photograph of what appears to be a fairly innocuous antique chair, on closer inspection, features erotic mouldings.

The artist is now studying Film Aesthetics at the University of Oxford. It’s a logical step for Majid, who often turns to video and film in her practice – “I’ve never studied film in such a focused way before,” she tells NR over email, “so it’s also helped me to dig deeper into current interests.” In particular, the artist has been “looking into the close-up shot, and the relationship that this sort of shot has to both intimacy and abjection (as facilitated by the camera’s proximity to that which is being filmed).” In previous video works such Macro (2020) and concave/convex (2018), Majid furthers her investigation of the body – animal and human, respectively. In both pieces, the natural surfaces of Majid’s surface (fur, saliva, tongues) take on an almost unnatural quality, creating an interesting counterpoint to the way in which the artist grants synthetic fabrics, by contrast, an organic quality. By turning to a range of materials, mediums and methods throughout her practice, Majid’s work challenges, or distorts, the boundaries of that which we might think of as being diametrically opposed: to that end, how concrete, and how different, are what we think of, or see, as being ‘real’ or ‘alien’?

NR: Am I correct in thinking that Rosie is printed on latex, which makes me wonder how the layering of material features in your work?

LM: Rosie is actually printed directly to vinyl, the printer however uses latex inks (commonly used to produce banners, outdoor signage, etc.) Although the work isn’t printed onto latex, this is a material which I frequently use in my work, and one that I always seem to come back to. I’m interested in the close relationship between latex and the body. It is a stretchy, skin-like material that, in its use as a material of fetishwear, sits directly on the surface of the body, fusing to the form of the wearer in a moment of sweaty skin-on-skin contact. I think this speaks to a layering of surfaces that you bring up. Latex definitely operates in this way; as a non-porous material often used to craft tightly fitting garments, it effectively sticks to and becomes an extension of the body of the wearer, and an extension of the skin itself. Layering, in this case, works to facilitate transformation through dress (change in appearance and physique/sexual release/role play etc.)

NR: What is your process of working with, and sourcing, different materials? And how do you navigate working in different mediums?

LM: Sometimes this is quite an intuitive process, of feeling seduced by the physical properties of a given surface. I also think that it’s important to pay attention to what an image or object may need, be it a specific surface or printing ink. With Rosie, for example, I knew that the image needed to be printed on vinyl given the connection that this material has to window displays and advertising.

«I’ve always felt it important to approach image and surface in such a way whereby they feel bonded or dependent on one another.»

NR: You recently had a joint exhibition, not yet, with your on-going collaborator, Louis Newby at the San Mei Gallery – what does the process of collaboration, more generally, look like for you?

LM: I’ve always been drawn to collaboration given the potential to enrich one’s work through the inclusion of new voices. This was much the case with the video piece in not yet, where we worked with different collaborators who were able to contribute to and elevate the work in various ways, through animation, sound design and AI programming. 

NR: And, in terms of your work with Louis Newby, how do you navigate your separate artistic practices to create collaborative work, and a joint show?

LM: Our collaborative practice truly sits in the space between our separate practices. Louis and I have spoken before about the idea that our collaborative work depends on our own practices/individual interests to take shape in the way that it does, and yet does something different to each of our practices as it sits between the two.

Laila Majid

NR: Found objects (film, comics, journals) feature in not yet, whilst your Instagram account combines your work, personal photography and other imagery – does the concept of the archive, and the act of archiving, feature in your work? 

LM: Instagram is tricky, I can never really figure out how to use it. For now, it exists as a combination of different sorts of images, as you’ve described. I also struggle with the app given its harsh terms and conditions and censorship rules. Instagram aside, images have always been important to me. They feed directly into the work I make and are an invaluable source of research (found images, pixelated screenshots, scans of images from magazines, my own photographs). I enjoy the process of collecting images, perhaps this act of collecting can be thought of as archival. Louis and I also have a shared archive of found images pulled from a vast array of sources which we use to generate print works.

NR: How do you negotiate the human body and other animal forms (real, imagined) in your work? 

LM: One thing that immediately comes to mind is the undifferentiated body – a form that points to a potential growth/change/development. I find it interesting to think about how one could present a moment of transformation— how a still image, for example, could hold this moment.

«When does one body morph into another, or suggest a form exterior to its appearance?»

This is something that you often see in science fiction/supernatural horror – for example, at which point does the arching of the spine/contorting of the body tip into an anatomical language that suddenly becomes unfamiliar? I’ve been thinking a lot about [Soviet film director and theorist, Sergei] Eisenstein’s idea of ekstasis in this way, which he explores as a transition ‘to something else’, from one state to another (‘to be beside oneself’).

NR: You’ve spoken previously about seduction and repulsion in relation to beauty – how do these two, supposedly opposing, concepts feature in your work more generally? 

LM: I think I focus more on how the two come together, in such a way that they rely on one another to produce a specific effect/affect. I suppose that seduction and repulsion go well together in that their marriage can be used as a tool to reconsider beauty. Pushing oppositional forces together within the same pictorial space also creates tension; it’s a combination which unsettles. I don’t think this is necessarily specific to the seduction/repulsion relationship, but in broader terms I’m reminded of the movement of the body during pleasure- contorted, arched, muscles clenched on the one hand, and giving into total pleasure and bodily sensation in a moment of release on the other. I’d like to situate my work within a moment like that, one which teeters on an edge between oppositions.

Credits

Images · LAILA MAJID
https://lailamajid.net/

Illya Goldman Gubin

Posted on by nr

NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 196

Feature · Illya Goldman Gubin
Words · Matthew Burgos

Exploring the ambiguities of life through the rapid shifts the present feels

The first three-dimensional, physical object that multidisciplinary artist Illya Goldman Gubin made comments on the everyday obstacles creatives face in a world dominated by consumerist logic. From the descriptions, several images may come up – glitching computer screens, broken doors, burned bridges, thrashed rooms, or maxed out credits cards – but Gubin built his storyline around an object famed for the hierarchy metaphor: a ladder. “The sculpture is a physical manifestation of the internalized struggle to climb the proverbial social ladder, our personal hopes, dreams, and challenges manifesting in a sculpture of rough materiality,” says the artist. Soon, viewers will find out the interconnectedness of everything Gubin works on.

An atelier and an art shop define the homes of Gubin. The first sees the continuation of his artworks, a deviation from a fashion line or merch and a journey towards works of art created from works of art. “The greed for a dialogue between clothes and artworks becomes a study. The clothes are created with the Japanese idea «Ichi-go, ichi-e». This means ‘One Time, One Meeting’ which reminds us of the ephemeral nature of everything around us,” the brand states. It lies upon the idea that one can never dip their toes into the same lake twice as the water flows – always moving, never settling.

From this ethos, the atelier comes to life. It breaks the binary continuum of thinking and feeling, science and mysticism, tradition and innovation, handmade and luxury goods, and perfection and imperfection. Gubin’s installations underline the complexity of human consciousness to unearth the depth of self-understanding. He borrows terms from Judaism and infuses them into his words, serving as reminiscences to the cultural imprint. For the artist, the culmination of multiple perspectives, fused with self-reflection, gives birth to a realm of new sanity, a marriage between codes of the past and newly acquired knowledge.

Gubin not only explores the ambiguities of modern life, challenged by the rapidly shifting conditions of the present, but also creates multi-layered reflections of everyday perception. He transforms paradigms, materials, space, and time into works that usher the audience into a sensorial experience, an invitation to think, feel, see, hear, and meditate. From that cocoon of meditation, Gubin captures the zen and essence of perpetuity and mold them into sculptures, canvasses, furniture, bags, bowls, t-shirts, lamps, soils and so much more. His body of works remains in a constant state of flux, moving in and out of the spirit to understand the self, to open the mind and heart, and to liberate one’s spirit.

For NR, he celebrates his voice and visions as a multidisciplinary artist through a tone he knows best: poetic, philosophical, polished, and pragmatic.

NR: Where and how did your fascination with “breaking the binary continuum of thinking and feeling, science and mysticism, and blurring the line between tradition and innovation, handmade and luxury goods, perfection and imperfection” start? What personal experiences nudged you to found I G G?

IGG: It started from questioning my inner self and finding answers in different areas and philosophies. I wanted to bring ideas and questions together. I wanted to start an open dialogue.

«It is all done for energy and the closeness to the earth.»

Your atelier is divided into an art shop and a catalog. Starting with the art shop, you reiterate that “it is not a fashion line or merch, but works of art that are created from works of art.” Is there a reason you’ve stressed this?

Yes. I try to push the boundaries of a clothing piece by combining and intertwining it with my artistic practice which, as the result, becomes a significant enlargement of my work.

For instance, the surface of the Struktur shoes is ‘hand-worked’ with the same medium as the ‘Struktur’ artworks. Additionally, the shoes are physically attached to a ‘Struktur’ artwork, which has an indirect invitation to be removed by the owner by force. The end result is a state of wearable artwork.

As for your catalog, I am looking at your first project (“Ladder”) and your recent (“Karton Vase”). Between these years, what changes did you make and experience in your artistic, creative, and business style?

My mind became more balanced. My visions are clearer, and the narratives become more conscious. An artist is a student of his own studies trying to find an answer to a question of one’s personal experience.  

How do you perceive timelessness during the shifting conditions of our present?

My own beliefs, interests, and paradigms are guiding my open-mindedness. Timelessness is still influenced by the Zeitgeist;

«the only difference arises from how you process the flow of information from the observation to the understanding, a contemporary way of thinking.»

Could you share a few projects that resonate well with you, projects that seem to converse with you? What are their backstories?

My latest projects cannot be really examined separately. They all share a similar spirit, a similar beginning, and a similar aim. My aim is always to heal my spectators’ precoded opinion and/or thinking which is given by their experience.

My ‘Karton’ furniture evokes a non-useable feeling, a forgotten childish dream. ‘Profil’ sculptures give spectators a distinctive look of regular fabrics hanging from the ceiling. My ‘Juxtaposition’ piece revokes a human act of protecting objects for their longevity.

All of these do not appear to be what they look like at first glance. I always encourage the spectators to interact with my work.

«I believe that only through the physical dialogue can my work achieve an ending. The idea is bigger than the outcome.»

In line with our theme Celebration, how do you celebrate yourself as an artist, a designer, and a creative? What joys outside your work do you live up?

To be honest, it feels very difficult to acknowledge the point where one can put a checkmark on the work. The work is always in the process. However, I am trying to learn to celebrate every day. The sum of the process is the outcome of the work. Living in the present can help one to realize happiness. 

Is there anything that we should look forward to from you in the upcoming months?

At this time of answering the questions, I am in Los Angeles. In April, I will participate in a large group show at Side Gallery where I am excited to show my ‘Karton’ furniture series.

When I think further from here, I do not know what is coming next. Probably this is being in the now?

Credits

Images · Illya Goldman Gubin
https://www.igg-atelier.de/

Sylke Golding

Posted on by nr

NR Vol. 15 Celebration · Spring Summer 2022
Published · Print Page 170

Cover Feature · Sylke Golding
Words · Ellie Brown

«every day is a plus – to wake up and be healthy, and to find myself in this unique position»

I speak to NR cover star, Sylke Golding, over the phone a few days after the shoot. How did it go, I ask? “It was great! A great little team. I always love it when they pick me,” she says. “At this point it’s such a plus.” Sylke started modelling at the age of 18, scouted – as she explains below – when living in Sweden. Now, age 55, Sylke is still modelling. After a break of a couple of decades in between, that is. Over the past couple of years, the fashion industry seems to have opened itself up to more diverse representations – widening the pool, as Sylke says. She had begun noticing this shift in the kinds of models she was seeing, not long before modelling came calling (again). It started around four years ago, when a colleague’s photographer friend was looking for models for an editorial with mature models. After came the runways (for amongst other brands, Deveaux), the street style spots (on Vogue) and the fashion editorials in print. Sylke’s certainly got the look – but as she ponders, what is that? “The way my bone structure is, because of the way the camera picks it up through the lens?”

It’s curious listening to Sylke discuss the similarities and differences between her experiences of the fashion industry as a young woman, versus in her fifties. She describes the former experience of being about fitting a certain mould – and a quick stalk on Sylke’s Instagram brings up some throwback snaps from back in the day. There’s a shot by Patrick Demarchelier and an outtake from a Grazia cover by Steve Landis; it’s true, her bone structure really does work with the light. But what really shines through in her modelling work from today (and again, reflecting on what Sylke discusses below) is a certain joie de vivre – a smile that’s incredibly infectious, where great cheekbones can’t be replicated.

As important as someone like Sylke’s visible presence marks a shift in the fashion industry – the grey hair, the lines, the signs of ageing – it seems that she also really enjoys just doing the job. She speaks of how, though photographers more often shoot digitally these days, the recent resurgence of interest in film is interesting too. Sylke describes the “raspiness” that comes with film – “I love the dirt on it, so to speak, and the hue”. And there’s a different set-up that comes with film, too. “Now it’s all digital and usually you see it on a little laptop, and you get an idea but, [this shoot] was all on film. So, you take the first picture to check the light, take a few digital shots, but then you’re kind of in the dark. Sometimes, you just have to trust the process.” I ask Sylke if she finds it easy to trust the process, to trust the team. “It’s funny you ask that because, in my regular life, generally, I need to have control and I always try to think ahead and say, ‘What can I do?’” But with modelling, it’s about switching off – “it’s kind of freeing,” she says. Going with the flow, especially given the past two years of the pandemic, and being able to model breaks up the monotony of everyday.

NR: Is there anything you take with you to a shoot – something that never changes, regardless of the different jobs, teams or concepts you’re working with?

SG: Yes – it’s being me. All I can bring to the table is me. You know, sometimes I think, what are the expectations? But as much as I think, “Why me?” I’m also thinking, “Why not me?” I always try to remember that, with social media and my agency, [clients] pick me [for who I am]. I’m turning 56 in July, and although the modelling pool has gotten much larger because there’s more inclusivity, my age group is still much less represented. So, when [a client] picks me, then it’s like, they want me. I don’t know where I read this recently, but I read it and it sort of stuck with me, that people don’t change, they only become more of themselves. I think there is a lot of truth in that. I can be inspired by people, but then it still has to be translated into something because otherwise, we are all just copies, you know? It doesn’t work – and I think the camera knows that as well. You know, if you’re not comfortable within yourself, the camera will read it – and the people around you will read it. So I love that challenge of expressing you, and to answer your question, that doesn’t change.

«That is the challenge – to be actually me, to give them who I am.»

NR: Something you mentioned before we spoke on this call was the idea of destiny – and in relation to what you’ve just said, I wondered how that is realised for you?

SG: Destiny ties into when I first became a model. I lived in Sweden at the time, my family had left East Germany when I was 14. And then I was scouted when I was 18 and I started modelling in Italy and Paris. [Being scouted] came at a time when I really desired change and wanted to leave Sweden. But back then, there were only really one or two ‘moulds’ of model. I worked with a lot of beautiful young women, and we were all trying to fit that mould. If you didn’t fit that mould, there was work but it was much harder to reach a point where you could work consistently. And then when you reached 25 or 26, it was done. It really slowed down to the point that you couldn’t help but see the messages: “Look, there’s a door and it says exit. See it?” So then I just stopped at that point and turned away from modelling. I had dropped out of university to pursue modelling, and [then] I had to find out what I wanted to do next. I did a bunch of jobs, a couple of decades went by – you know, the quote un-quote ‘regular life’. And I never really thought about modelling again. But in the past five years, I started seeing little signs that something was afoot. Friends would say, “Maybe you should model!” But I was like, no. No, I should not. And

«lo and behold, modelling came and found me again; I was asked by a photographer who was looking for a mature model.»

And then I was like, “Alright, what the hell? Why not?” I did it, it hit social media, and then it just happened. So I often find myself thinking about destiny; I feel like both times modelling came, I didn’t actively pursue it. It pursued me. I would say that the only way I would do it again is if it came and knocked on my door. And I said it many times. So, lately, I’m really of the mind that you should be careful what you say because once you say things out into the universe, it has a way of responding. And it’s for the good, it’s for the bad – whatever the energies you put out there, you will attract them. So, I wonder how actively, or subconsciously, did I will this to happen?

NR: Do you feel like your visibility is as important for you as it is for other women to see?

SG: I hope so because you see women, or society on a whole, struggling to accept age – women growing older, men growing older. I see men colouring their grey out and I think it looks ridiculous because you can see it. I try not to judge, but it’s just, you can see it. I rationalise the process for myself, and it makes me stronger, which is that in the end, people are scared of dying. And we all, in some way, have to get to grips with that. And I think the problem is that, of course we want to postpone it, but that’s all we’re really doing. I want to encourage everyone to find a way to accept it because I’m trying just the same to accept this. So, I hope that [my visibility] helps. I hope changes in the industry are here to stay; that they are truly opening up, and that the pool remains larger, and become larger. And that everybody is included because, as they say, beauty is in the eye of the beholder. Who’s to say who is beautiful or not? I want [to push for] acceptance of what is real; I strive for that. I want to be honest; I want it to be real – to reframe that into a positive. And I hope it encourages people.

«I hope [my experience] tells the story that, you know, you could be happy with growing older. You can be fulfilled and satisfied.»

NR: The industry is notoriously gravitated towards youth. From your experience of being a model at a young age, before coming back to the industry later on, has much changed?

SG: It has, and it hasn’t. The first shoot I had, it was like nothing has changed – the hair, the make-up. The process of getting ready hasn’t changed. It’s still the same creative process. The pool has gotten a lot bigger. I work with models that could be my children; if I had children, they could be my children. Back then,

«I think it was more about fitting a mould, and it was less about who you were as a person.»

And now, it’s much more like, “Oh I like them. I think they could really contribute to the story.” I think that’s a huge change – they want character, you know. They don’t just want a prescribed performance from the model. I think it’s much more collaborative, even from the model; it’s like, “Show us who you are.” Overall, it’s the same industry. It’s the fashion industry – it’s the same. Same exciting, crazy journey and I think it’s full of people who just love excitement because every day, you pretty much meet new people and it’s a new scene.

NR: On your Instagram, there’s a post where you say that it’s a myth that age is just a number. And going back to what you said about how, as you age, you become closer to who you truly are – is that what you meant about this ‘myth’?

SG: You don’t have to be confined by the number of your age, I know what people mean by that, I think it’s well-meaning. And I used it too in the beginning, but then I thought about it. It isn’t just a number. Age is about acceptance, it’s not just a number because I’ve got here. I’m lucky to be here, every day is a plus – to wake up and be healthy, and to find myself in this unique position. And I’ve said this before and I think it holds true: every spot, every wrinkle tells a story.

Credits

Model · SYLKE GOLDING at MUSE NYC (Agent DANIEL SISSMEIR)
Photography · RICKY ALVAREZ
Creative Direction · JADE REMOVILLE
Fashion · SUTHEE RITTHAWORN
Makeup · MARIKO HIRANO
Hair · JEROME CULTRERA at L’ATELIER NYC
Writer · ELLIE BROWN
Fashion Assistant · JOAO PEDRO ASSISS
Special Thanks · MALENA HOLCOMB and DANIEL SISSMEIR

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