shoot me magazine issue #09_nov_013

A R T _ R E V O L V I N G

M A G A Z I N E# 0 9N O V _ 0 1 3

COVER BY GEORGE PANTOOL

2. take my picture

4. kill my old self, revive me.

3. throw me out of a canon, hit me with your arrows

and help me discover a new side of me (an artistic side)

1. hit me with a bullet

Shoot me /ʃuːt mi/

3. the art that never seizes.

2. the ever-rotating art.

rotating around itself, around me, across the universe.

1. swirling art

Art revolving /ɑːt rɪˈvɒlvɪŋ/

<<<<<<

ISAVELLA [email protected]

p u b l i s h e r // a r t d i r e c t o r

JAD [email protected]

www.shootmemag.com

[email protected]

[email protected]

p u b l i s h e r // w e b g e e k \\

GERASIMOS [email protected]

c o n t e n t c o o r d i n a t o r\\

IRO JAGUARc o p y e d i t o r

\\

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2013, ATHENS / [email protected]

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|||||© SHOOT ME Magazine | 2013 | CONTENT OF THIS ISSUE IS COPYRIGHTED BY THE FEATURED ARTISTSAND CANNOT BE USED WITHOUT THEIR WRITTEN PERMISSION |||||||||||||||||||||||||||||||||||||||||

ISSUE #09 NOV013

FEATURED ARTISTS

FEATURED PROJECT

COVER byGeorge Pantool

GIORGOS SALTAFEROS

TIM DECHENT

JASON BELL

GEORGE PANTOOL

TRICKYby DIMOSTHENIS LOUKISSAS

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DESIGNE R’NOT E s

“...Just a funny thing...

Just not the proper thing

"Love Makes You Feel" by Lou Reed

to always be drifting into dreams..”

I'm forever drifting into dreams

Ba ng! B a n g !____Enjoy our 9th!

Giorgos

Saltaferos

La mer

est

ton

miroir

Helmut

Newton

Paris

-

Berlin

ExhibitionGrand Palais

2013

TIM

DECHENT

Being free

is a lot like

being lost

Midi

-Pyrenees"

12

28

36

‘ ‘

JAS

BE

Thro

h

len

64 112

104

160

SON

ELL

ough

is

ses

GEORGE

PANTOOL

Walking

London

collective

The

writing

is on thewall

TheTRICKYproject

12

Mer M© GIORGOS SALTAFEROS

la e

acrylics on canvas // 50x50cm

13

© www.saltaferosgiorgos.com

Miroir >>>>>>>

est ton

14

La Mer Est Ton Miroir


15


All along people have been

looking at the moving

or still waters in amazement.

those who are involved in poetry,

painting and music and are

challenged to bestow the rapid

changes a slight pictorial shape.

George Saltaferos falls into the

circle of the artists who have

inner pursuits and experiment.

The subject of the sea has been

accompanying and formulating the

artist since his early youth.

An Aegean Sea ‘child’, he has

experienced and gone deeply into

the multi-faceted aspects of

presentation of the saline element

capturing its whole essence.

Baudelaire’s poem “The Man and the

Sea” is portrayed in a Saltaferian

way – he picked a line as

the leitmotiv for his exhibition:

“the sea is your mirror.”

The relentless game of mirroring has been inspiring

16


From 2011 up to the present time

a great artistic group has been

created, in which Saltaferos

has accumulated his observations,

his emotions, memories and

fantasies on poetic painting.

He leads the observer to his works

of art very closely onto the

water. He gives the impression

that someone is sitting on a boat

and is approaching banks with

hidden secrets, a feeling

of arrival rather than one

of departure. The observer has

his back turned to the horizon,

which is perceptible though not

directly visible.

This omission, nevertheless,

boosts its presence

in the exhibition.

Saltaferos intentionally exempts the horizon of nostalgia.

17

La M

er Est Ton M

iroir


18

La Mer Est Ton Miroir

“Free man, you’ll always love the sea - for this,

That it’s a mirror, where you see your soul

In its eternal waves that chafe and roll;Nor is your soul less bitter an abyss.”

-Charles Baudelaire, 1821 - 1867Beginning of 14th poem "Man and the Sea"

from "Flowers of Evil" (published in 1857)


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The complete works of the

“Mirrors of the Sea” theme

is saturated with a profound

basis of red, black and blue,

engulfing thus the images into

one unity. The dark spots on the

water lead from the dimly-lit

surface to the mysterious,

dark bottoms of the sea.

The warm red tones around act

as blazing coasts. These works

of art which at first sight

are taken to be water images,

water, earth, wind and fire. They

can be interpreted and experienced

synesthetically. The presence of

smell, taste and sound of the

water reinforces and alters the

optical impression.

create streams of thought associated with the four elements,

20


Since his student years at the

University of Bern, Saltaferos

has made a reputation for the

flawless technique of his

composition. What is more,

in this group stands out the

persuasive streak of the stable

and rich in variations imagistic

architecture, with which

he confronts the vital element

of the water. In the WORK No 1(p.18)

he cites in a daring and impres-

sive way the clear blue mirroring

of the sky on the dead right cor-

ner, achieving thus a creative

stimulus on the painting. Also in

the painting WORK No 4 (p.26),

which reminds us of the scenery at

the banks landscape of the “Island

of the Dead” in Brooklyn, he

proves his mastery in composition.

Miroir

21

La Mer Est Ton


22

La M

er Est Ton M

iroir

“Soul of man,How like to the water!

Fate of man,How like to the wind!

-Johann Wolfgang von Goethe, 1749 - 18321779 from “Song of the spirits over the waters”


23


The images boost activity.

They force the observer to move

in front of the painting,

to distantiate himself,

to approach. For proximity

and distantiation can reveal

totally opposite perceptual

values of a totally similar work

of art. At close distance,

for example, one can identify

the minute calligraphies

of the paintbrush, which

coincide with the lavish

rhythms of a surface

from a distance.

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Water, sea and waves

are transformed into a life

metaphor. Both Goethe and

Baudelaire have associated water

with human destiny, a fact which

many people perceive of in a

similar way. Saltaferos achieves

this combination. His works of art

are contemporary water depictions,

through which the observer

can find his/her own internal

pictorial worlds. His paintings

invite us to paint further with

the thought, to be transported by

In this respect the

paintings can be also understood

as a plea for traveling into

thought and against stagnation.

Accordingly, they transfer their

energy to the observer.

Katharina Bütikofer, Bern

Artist, Curator and Tutor

at the University of Bern

Bern, Switzerland

La Me

the slow motion to the powerful vibration outside the painting domain.

25

Mer Est Ton Miroir


26

La Mer Est Ton Mir


27


roir

Duration: 31 October – 23 November 2013

Location: Gallery Genesis, 35 HARITOS Street,

Kolonaki 10675- Athens, Greece.

www.gallerygenesisathens.com

G I O R G O S S A L T A F E R O SL a m e r e s t t o n m i r o i r

29

Helmut NewtonNovaParis, 1973© Helmut Newton Estate

HELMUT NEWTONP a r i s - B e r l i n

E x h i b i t i o n G r a n d P a l a i s 2 0 1 2

P B

ten years ago, in the fall of

2003, Helmut Newton estab-

lished his foundation and en-

tered into a partnership with

the Prussian Cultural Heritage

Foundation. Within the frame-

work of a publicprivate part-

nership, a comprehensive

collection of original prints,

vintage exhibition posters and

archival objects made their way

to Newton’s native city of

Berlin on permanent loan. In

the summer of 2004 following a

brief period of renovation, the

Museum for Photography opened

its doors in a former military

casino, with a double exhibi-

tion. The photographer himself

was never able to experience

the show, as he passed away in

Los Angeles shortly before its

opening.

Regular exhibitions are organ-

ized and presented not only in

Berlin, but made available on

loan to various institutions

throughout Europe. The 2012

exhibition at the Grand Palais

in Paris is one such example.

This was the first comprehen-

sive presentation of Newton’s

work in the French capital

city since his death. It was

also the first exhibition ever

to present the works of a pho-

tographer within the walls of

this illustrious exhibition

space. Now this exhibition re-

turns to its source for a show

in Berlin, and the path it has

taken is reflected in its

title. The show unites essen-

tial series from the photogra-

pher’s oeuvre: fashion, nudes,

portraits, as well as the mixed

forms that were so character-

istic of the photographer. More

than 200 photographs in black

& white and color are featured

in various formats, including

vintage prints.

Yet Helmut Newton lives on throu

gh his work. With this exhibition, the Helmut N

ewton Foun-

dation in Berlin celebrates an a

nniversary:

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Helmut NewtonTied-up Torso

Ramatuelle, 1980© Helmut Newton Estate

While some of these imageshave been shown in earlier ex-hibition contexts at the Hel-mut Newton Foundation, othersare presented here for thefirst time. With every newcombination, new dimensions ofthe work of this renowned pho-tographer allow themselves tobe discovered. Customary ex-pectations are challenged bythe side-by-side presentationof an iconic image such as “RueAubriot, Paris 1975” with asecond shot of the same motif,to which a nude model has beenadded. Here, Helmut Newtonphotographed a tuxedo by YvesSaint Laurent for FrenchVogue; this is hardly unusual– notwithstanding the fashiondesigner’s revolutionary cre-ation – but the manner of pho-tographic staging isunrivalled. Like a still life,a female model with short hairstands self-assured, smokingat night in a narrow, dimly litalleyway; she appears to waitfor no one. Two associationsfrom the history of art andphotography immediately cometo mind. The first: Ernst Lud-wig Kirchner’s nocturnalstreet scenes of PotsdamerPlatz from the early 1910s, inwhich he documented fashion-ably clad women standing in atension between prostitutionand a modern, urban lifestyle.Further parallels can be foundwith Brassaï’s portraits ofprostitutes, many of which hephotographed in the Parisianquarter of Le Marais in the1930s. Forty years later, New-ton also selected this quarteras the backdrop for his fash-ion photography. In his secondphotograph of the model, atthe same location but now witha nude model at her side, New-ton intensifies the alreadyconfounding androgyny of thedressed woman. The combinationof a clothed with a nude womanin the context of fashion wasradical for its time and un-fitting for publication in afashion magazine like French

Vogue. Newton expanded uponthis combination of clothedand nude models starting inthe 1980s with his famous se-ries “Naked and Dressed.” Theseries was published in histhird photography book BigNudes as well as in the Italianand French versions of Vogue;by this point, such renownedfashion magazines no longerheld the motif combination fortaboo. Two diptychs from theseries that were shot in RueAubriot earlier, in the mid-1970s, are also included inthe current exhibition.

The exhibition also presentsnumerous portraits of notablefigures ranging from PierreCardin to Margaret Thatcher,fashion photographs for maga-zines from the 1960s throughthe 1990s, nudes, as well asproduct shots. Another high-light are the “Fired” images:the legendary Courrèges photo-graphs that were first pub-lished in 1964 in the fashionmagazine Queen, and which re-sulted in Newton’s immediatedismissal from Vogue. Theseimages brilliantly translatethe ultra-modern designs ofthe French designer into thephotographic image, challeng-ing convention with thewomen’s pants, the above-the-knee dresses, and above allthe spectacular space-agelook. At the time, the imageand social status of womenwere undergoing radicalchange. Newton photographedthe Courrèges models withoutaccessories in narrow, claus-trophobic spaces, whose metalwalls reflected and multipliedthe clothes and the models.

33

Later, at the end of the 1960s,

Newton photographed fashion

for Elle in a confounding mir-

rored room; this time the pho-

tographer reveals himself

behind the women with his small

format camera in the shot. With

his self-ironic commentary on

the work process and reflection

on the medium itself, Newton

was ahead of his time.

On occasion, Helmut Newton was

known to photograph himself in

the buff, and in 1974 he also

portrayed a naked Helmut

Berger; in general, however,

the male nude was of marginal

significance in his work. Upon

invitation by June Newton, who

under the pseudonym Alice

Springs occasionally pho-

tographed male nudes, the

American portrait photographer

Greg Gorman will present a se-

ries of male nudes in a show

parallel to the Helmut Newton

exhibition. Here in “June’s

Room,” we encounter young,

trained bodies in black & white

prints in various formats, some

of them nearly life-sized.

Gorman was born in 1949 in

Kansas City and currently lives

in Los Angeles. He launched his

career in photography while

still a student in Kansas City,

with pictures he took of Jimi

Hendrix at a concert in 1968.

Later in California, Gorman

remained true to show business,

and in addition to numerous

commercial jobs, photographed

primarily actors and musi-

cians, including the likes of

Angelina Jolie and Johnny Depp,

Michael Jackson, and David

Bowie. Some of these iconic

black & white photographs were

used as film posters; others

appeared on the covers of CDs

or magazines such as LIFE,

Newsweek, Rolling Stone, and

Vogue. At the same time he

started exploring nude photog-

raphy, often at plein air work-

shops conducted at his second

home in Mendocino, a small

artist community north of San

Francisco. For this accompany-

ing exhibition, Greg Gorman

and June Newton selected 25

motifs that were created be-

tween 1988 and 2012, for the

most part in Gorman’s studio

in Los Angeles. Pictured alone

or in groups, the young men

move before the camera like

dancers on an empty stage.

Gorman’s nude portraits are

both timeless and sensual.

Even today, nude portraiture

of male models is considered

improper in many places. Al-

though the legendary Montreux

Jazz Festival included a male

nude by Greg Gorman on its

festival poster last year, the

model was posed so as to con-

ceal his genitals. However,

this is not always the case

with the photographs by Gorman

that are on display at the

Helmut Newton Foundation.

- Dr. Matthias Harder

Greg GormanThree Boys Jumping1991© Greg Gorman

34

Helmut NewtonFat hand and dollarsMonte Carlo, 1986© Helmut Newton Estate

35

Helmut Newton:Paris-Berlin. Exhibition Grand Palais 2012

Greg Gorman: Men

Opening: Thursday, 31 October 2013, 8 p.m.Duration: 1 November 2013 – 18 May 2014

36

Midi-Pyrenees© TIM DECHENT

>>>>

b e i n g f r e e

i s a lo t l i k e

b e i n g l o s t

΄΄

37

© www.lostinagoodway.com

www.facebook.com/lostinagoodway

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1.000km in a car

90km on our feet

a pilgrimagean adventure

a hikeGR 65

France 2013

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Courtney Love for Vanity Fair

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© www.jasonbellphoto.com

LTHROUGH

© JASON BELL

ENSES

>>>>>>>

his

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Emily Blunt for Harper's Bazaar Australia

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Henry Cavill for Warner Bros

70 Rebecca Hall for Vanity Fair

72


Dan Stevens for Vanity Fair

74


Jessica Ennis for British Vogue

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Max Irons for Vanity Fair

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Tom Hardy for Vanity Fair

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Amy Adams for Warner Bros

82


Dolce & Gabbana, Kate Hudson,

Stella McCartney, Perry Oosting,

Eva Herzigova / VOGUE Festival 2012

84


85Claire Danes

Emily Blunt for the National Portrait Gallery

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Courtney Love for Vanity Fair

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Cast of Dark Shadows for Warner Bros

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The Daughters of Downton Abbey for British Vogue

94


Damian Lewis & Helen McCrory for British Vogue

97


Robin Williams / The Crazy Ones Campaign


Steve Coogan for Vanity Fair


Chelsea Clinton for Glamour USA

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Cast of Steven Spielberg’s War Horse for Vanity Fair

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TRICKY!isdust

[email protected]

SUB

MISSIONS

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love ya!

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thinking Tate

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gimme

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old times

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160

>>>>>>>

the writing is on the

Wall!

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*”you’ll never know how much I loved you!”somewhere in Athens, Greece

shoot me magazine issue #09_nov_013

Documents

r e v o

o n t e n t c o o r

r t d i r e c t o

i s h e r w e b g e

artart revolving t

mer est ton miroir acrylics

shoot u b

canvas 50x50cm13