shoot me magazine issue #20_oct_014

co

ve

r b

y BROOKE SHADEN

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

www.shootmemag.com

[email protected]

[email protected]

JAD [email protected]

p u b l i s h e r _ w e b a d m i n

GERASIMOS [email protected]

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

KATERINA [email protected]

c u l t u r a l e d i t o r

IRO [email protected]

c o p y e d i t o r

2014, ATHENS / [email protected]

|||||© SHOOT MEMagazine | 2013-14 | coNTeNT oF THIS ISSUe IS coPyrIGHTeD by THe FeATUreD ArTISTS AND cANN

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oT be USeD WITHoUT THeIr WrITTeN PerMISSIoN

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ocT_014

cover byBROOKE SHADEN

“fLIGHT Of THE TRAPPED”

featured artists

BIEL CALDERON

PABLO CHACO

KONSTANTINOS TSILOGIANNIS

SIMAS LUCAS CASTILLO

BROOKE SHADEN

featured project

SHOOT ME TWICEin collaboration with

SHOOT ME WARSAWPART#04

20#

I N D e X92

104 122

60

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1 8 6 7 S I M A S / L U c A S / c A S T I L L o

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0 5 2 2 2 5 4 e r W I N / o L A F

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‘

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d e i g n e r ’ s n o t eS

09

“ T h i s i s m y l i f e , a n d i t ' s n i c e

t o b e a b l e t o w a d e i n i t ,

i m m e r s e y o u r a r m s i n i t ,t o u c h i t . . ”

― N i c k H o r n b y , H i g h F i d e l i t y

enjoy our #20th

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12

SoNIA SZoSTAK‘

Longboards,

tattoos

&

a journey

to Mars

Sonia SzóstakTattoo Project, Szymon, 2012

C-Print© Sonia Szóstak

courtesy the artist + NO WÓDKA

by � Ka te r i na � X i da k i

15

No WoDKA Art & Design in berlin presents, from october 13

to November 29 - just a few days before the official start of the

european Month of Photography – the solo exhibition of the

Polish photographer Sonia Szostak, under the title 'Longboards,

tattoos and a journey to Mars'.

Sonia Szostak was born in Stettin, Poland in 1990. She studied

photography at The Leon Schiller National Film, Television and

Theatre School. For the past few years she has been collabo-

rating with magazines, designers, musicians and actors. In 2011

‘Fashion Magazine’ featured her as the ‘best debutante’, while

‘Le book’ rewarded her for having produced one of the world's

best magazine-covers in 2010. In 2013 Sonia was invited to the

vogue Italia exhibition ‘A Glimpse At Photo vogue’, held at the

carla Sozzani Gallery at corso como in Milan.

Sonia SzóstakLife on Mars, 2010C-Print© Sonia Szóstakcourtesy the artist + NO WÓDKA

‘

‘

‘

16

Sonia SzóstakSilent, 2011C-Print© Sonia Szóstakcourtesy the artist + NO WÓDKA

18

Szostak’s photography can be seen at various group and solo

exhibitions including shows that are part of Poland Fashion

Week and Arts Festival, while her work has been shown in im-

portant publications, like oZoN Magazine, blink Magazine,

vain Magazine, K Mag, revS Magazine, 10 Magazine, c-

Heads Magazine, Thispaper Magazine, Przekrój, Zwykłe Życie,

StreetMag, Fashion Magazine, Digital camera , Photovogue

Italia, Highsnobiety, viva!Moda and HIro. Just recently, the

young artist started creating videos for musicians and fashion

designers.

The exhibition 'Longboards, tattoos and a journey to Mars',

held at No WoDKA - a concept store showcasing the best of

Poland’s fashion, art and design output in berlin – presents 19

photographs, a selection from 3 different narrative photo-

graphic series taken by Szostak over the past 4 years. evoca-

tive portraits of classical beauty, fashion, nude figures reclined

in stunning landscapes… Some photos are elaborately staged

and some others reflect a natural spontaneity, through the

sensitive glance of a young artist, who expresses the spirit of

her generation.

Sonia SzóstakUntitled II, 2011

C-Print© Sonia Szóstak

courtesy the artist + NO WÓDKA

‘

‘

‘

21

NO WODKAPappelallee 10,

10437 berlin

030/48 62 30 86

www.nowodka.com

[email protected]

opening hours:

Monday – Saturday,

11 a.m. – 7 p.m.

and by appointment

‘

Sonia SzóstakShelter, 2012C-Print© Sonia Szóstakcourtesy the artist + NO WÓDKA

22

erWIN oLAF FALL

23

erWIN oLAF FALL

c a p t u r i n g

a f leeting

moment of

p e r f e c t i o n

by�Katerina�Xidaki

25

Erwin OlafFall – Nikola, 2008Lambda Print, 141 x 106 cm© Erwin Olafcourtesy Wagner + Partner Berlin

WAGNer + PArTNer gallery in berlin presents ‘Fall’, the series of

the Dutch photographer erwin olaf, at bar Kosmetiksalon bar-

bette, from october 16 to october 30, on the occasion of the

6th european Month of Photography 2014.

The artist will be present at the opening, on october 16, at 10 pm.

olaf’s work is often daring, provocative and it addresses

social issues, issues of class, race, sexual taste, beliefs, social

exclusions, taboos and bourgeois conventions, with his unique

With his passion for scenic and lightning design, for conceiving

scenarios and creating the perfect composition, olaf

erwin olaf Springveld, professionally known as erwin olaf, was

born in Hilversum, Netherlands in 1959. He studied journalism

in the School of Journalism in Utrecht. Mixing photojournalism

with studio photography, olaf emerged on the international

art scene in 1988. In 1991 he began working with film, which

has since continued to be an important medium for his art.

manages to capture the essence of contemporary life with a unique, atmospheric way.

often these movies provide a parallel history to his color photography.

unconventional style, which delivers dramatic visual and emotional impact to the viewer.

26

Erwin OlafBerlin, Fechthalle Westend11th of July, 2012© Erwin Olafcourtesy Wagner + Partner Berlin

27

Erwin OlafBerlin, Fechthalle Westend11th of July, 2012© Erwin Olafcourtesy Wagner + Partner Berlin

28

In his series ‘rain’ (2004), ‘Hope’ (2005), ‘Grief’ (2007) and ‘Fall’

(2008), olaf challenges the notion of domestic bliss, while in his

series ‘Dusk’ (2009) and ‘Dawn’ (2010) show how culture can be-

come repression. olaf's series ‘Hotel’ (2010) explores the subtle

olaf's style has been embraced by the advertising world. He

has been commissioned to photograph advertising campaigns

for large international companies such as Levi's, Microsoft and

Nokia. His worldwide campaigns for Diesel Jeans and Heineken

offered him the coveted Silver Lion at the cannes Lions Festival

for Advertising. olaf’s work has received numerous international

art and media prizes and it is shown in galleries and museums

all around the world. He designed the 2014 Dutch euro coins

with the portrait of King Willem-Alexander.

The exhibition "Fall" presents adolescent portraits with still-

life images of foliage in painted vases, set in pale-gold col-

ored interiors. These adolescents appear in front of curtains

and wallpapers that could have been post-war living

rooms. Appearing as if it they are unobserved, they face

the viewer with an unspecified corporality, while coolness

and physicality coexist with vulnerability and apathy.

range of detached melancholic emotions in dimly-lit exquisitely furnished 1950s hotel rooms.

A subtle but intense eroticism radiates from their beautiful young bodies,

creating dramatic visual and emotional impact to the viewer.

Erwin OlafFall – Felix, 2008

Lambda Print, 141 x 106 cm© Erwin Olaf

courtesy Wagner + Partner Berlin

31

Erwin OlafBerlin, Olympiastadion, WestendSelbstportrait25th of April, 2012© Erwin Olaf courtesy Wagner + Partner Berlin

33

opening

on october 16th, 10 pm at

BARKOSMETIKSALONBABETTEKarl-Marx-Allee 36

10178 berlin

Germany

www.barbabette.com

in cooperation with:

WAGNER + PARTNERGALLERYStrausberger Platz 8

10243 berlin, Germany

[email protected]

www.galerie-wagner-partner.com

Erwin OlafFall – Joschka, 2008Lambda Print, 141 x 106 cm© Erwin Olafcourtesy Wagner + Partner Berlin

35

o F S T y L e

S e N S eoft ime L e S S

e L e G A N c eby � Ka te r i na � X i da k i

H o r S TP H o T o G r A P H e r

Corset by Detolle for Mainbocher, 1939© Condé Nast / Horst Estate

36

Marlene Dietrich, New York, 1942 © Condé Nast / Horst Estate

v&A Museum in London

presents, from September 6 to

January 4, the retrospective

exhibition of master of photog-

raphy Horst P. Horst’s work,

under the title ‘Horst: Photogra-

pher of Style’.

In his 60-years career, the Ger-

man-born artist, who is consid-

ered one of the greatest

photographers of the 20th cen-

tury, created images that go

beyond fashion and time.

Horst’s career lied on top of pre-

war Parisian haute couture’s

luxury and the rise of ready-to-

wear in postwar New york. His

style developed from luscious

studio set-ups in the first half of

the 20th century to a more aus-

tere approach in the latter half.

Horst is best known for his fash-

ion photographs, but he is also

recognized for his photo-

graphs of interior architecture,

still lifes - especially ones includ-

ing plants - and environmental

portraits. An international fig-

ure that his legacy influenced

the work of famous artists, such

as Herb ritts, robert Map-

plethorpe, bruce Weber and

Madonna, Horst is considered

a master of composition and

atmospheric illusion, a master

of sensual sophistication, a

master of light. Horst rarely

used filters; he frequently used

4 spotlights, one of them point-

ing down from the ceiling.

only few of the artist’s photos

have shadows falling on the

background of the set. While

most of Horst’s work is in black

& white, much of his color pho-

tography includes largely

monochromatic settings to set

off a colorful fashion.

Horst Paul Albert bohrmann –

who chose to be known as Horst

P. Horst - was born in Weissenfels,

Germany in 1906. When he was

teenager, he met the dancer

evan Weidemann at his aunt’s

home. This acquaintance

aroused his interest in avant-

garde art. In the late 1920s, Horst

studied at Hamburg Kunst-

gewerbeschule (school of arts

and crafts), but soon he left for

Paris to study under the Swiss-

French architect, Le corbusier.

In 1930 Horst met vogue

Magazine’s photographer,

baron George Hoyningen-

Huene and he became his

photographic assistant, oc-

casional model and lover. In

1931, Horst began his associa-

tion with ‘vogue’, publishing

his first photograph in the

French edition. When Horst

joined vogue in 1931, Paris

was still the world’s undisputed

centre of high fashion. The

publisher condé Montrose

Nast, who wanted to improve

the quality of image repro-

duction, insisted that ‘vogue’

photographers work with a

large format camera, which

produced richly detailed neg-

atives. by the mid 1930s, Horst

had superseded his mentor

George Hoyningen-Huene as

Paris vogue’s primary photog-

rapher. His images frequently

appeared in the French, british

and American editions of the

magazine.

39

Round the Clock, New York, 1987© Condé Nast / Horst Estate

40

Salvador Dalí's costumes for Leonid Massine's ballet Bacchanale, 1939© Condé Nast / Horst Estate

43

“

“

I d o n ’ t t h i n k p h o t o g r a p h y h a s a n y t h i n g

r e m o t e l y t o d o w i t h t h e b r a i n .

I t h a s t o d o w i t h e y e a p p e a l.

- Hors t P . Hors t

Male Nude, 1952© Condé Nast / Horst Estate

44

View of ruins at the palace of Persepolis, Persia, 1949© Condé Nast / Horst Estate

46

Patterns from Nature Photographic Collage, c. 1945© Condé Nast / Horst Estate

49

Summer Fashions, American Vogue cover, 15 May 1941 © Condé Nast / Horst Estate

Horst’s first exhibition was held

in ‘La Plume d'or’ in Paris in

1932. The review of Janet

Flanner in ‘The New yorker’,

made Horst instantly famous.

The photographer made a

portrait of bette Davis the

same year, the first in a series

of celebrities he would photo-

graph during his life. Within two

years, he had photographed

Noël coward, yvonne Print-

emps, Lisa Fonssagrives,

count Luchino visconti di

Madrone, Duke Fulco di ver-

dura, baron Nicolas de Gun-

zburg, Princess Natalia

Pavlovna Paley, Daisy Fel-

lowes, Princess Marina of

Greece and Denmark, cole

Porter, elsa Schiaparelli, and

others.

Horst’s photographs of that

period feature mysterious,

eccentric and surreal ele-

ments combined with his

classical aesthetic. He cre-

ated trompe l’oeil still lifes,

photographed the surreal-in-

fused dress designs of his

friend elsa Schiaparelli and

collaborated with the artist

Salvador Dalí. He shared

with the Surrealists a fascina-

tion with the representation

of the female body, often

fragmenting and eroticizing

the human form in his im-

ages. Horst’s most cele-

brated photograph of the

era - one of the greater

iconic photos of the 20th

century - is ‘Mainbocher

corset’, captured by the

artist in Paris vogue’s studio in

1939.

Horst rented an apartment in

New york in 1937, while in 1941

he applied for United States

citizenship, which he received

in 1943 as Horst P. Horst. In 1945

he photographed United

States President Harry S. Tru-

man, with whom he became

friend. He also photographed

every First Lady in the post-war

period at the invitation of the

White House. At the same

time he captured some of

Hollywood’s brightest stars,

such as rita Hayworth, bette

Davis, vivien Leigh, Noël cow-

ard, Ginger rogers, Joan

crawford and Marlene Diet-

rich, whose portrait is his most

famous one.

In 1947 Horst acquired five

acres of land in oyster bay

cove, Long Island, where he

built a unique house and

landscaped garden. Noël

coward, christopher Isher-

wood, and Greta Garbo vis-

ited Horst for the first time at

his house, together with the

british diplomat valentine

Lawford. This was the begin-

ning of a relationship be-

tween the two men that

would last until Lawford’s

death in 1991. They adopted

and raised a son together,

richard J. Horst.

50

Dinner suit and headdress by Schiaparelli, 1947© Condé Nast / Horst Estate

Horst travelled widely through-

out the 1940s and 1950s to-

gether with Lawford, who

was at the time political

counselor at the british em-

bassy in Tehran. In 1949 they

travelled by road from beirut

to Persepolis, where Horst

was able to photograph

parts of the ancient Persian

city that had only recently

been uncovered. After-

wards, Horst visited the newly

established State of Israel on

a photographic assignment

for ‘vogue’. An escape from

the world of fashion and city

environs, his little-known

travel photographs reveal a

fascination for ancient cul-

tures, landscapes and archi-

tecture.

In the early 1950s Horst pro-

duced a set of distinctive

photographs unlike much

of his previous output. These

male figure studies were ex-

hibited for the first time in

Paris in 1953 and reprinted

using the platinum-palla-

dium process in the 1980s.

The studies exemplify Horst’s

sense of form. All emphasis

is on the idealized human

body, expressive light and

shadow. Monumental and

anonymous nudes resem-

ble classical sculptures.

In the 1960s, encouraged by

‘vogue’ editor Diana vree-

land, Horst began a series of

photos, illustrating the lifestyle

of international high society

which included people like

baroness Pauline de roth-

schild and baron Philippe de

rothschild, Duke of Windsor

and Duchess of Windsor,

oscar de la renta, Andy

Warhol, Nancy Lancaster,

yves Saint Laurent, Jacque-

line Kennedy onassis, Paloma

Picasso and many others.

The 1980s witnessed a flurry of

new books, exhibitions and

television documentaries

about Horst. He produced

new prints for museums and

the collector’s market, select-

ing emblematic works from

every decade of his career

to be reprinted in platinum-

palladium, sometimes with

new titles. This was a complex

and expensive technique,

employing metals more ex-

pensive than gold. Failing

eyesight finally forced him to

stop working in 1992.

Horst died in 1999 at his home

in Palm beach Gardens,

Florida, aged 93. In the year

previous to his death, he had

been in declining health since

his bout with pneumonia.

54

Muriel Maxwell, American Vogue, 1939© Condé Nast / Horst Estate

The exhibition ‘Horst: Photog-

rapher of Style’ presents 250

photographs, alongside

haute couture garments,

magazines, film footage and

ephemera, more than 90

vogue covers, previously un-

published vintage prints, as

well as photographs recently

donated to the v&A by the

art collector Gert elfering.

The creative process behind

some of his most famous

photographs, such as the

‘Mainbocher corset’, is re-

vealed through the inclusion

of original contact sheets,

sketches and cameras,

while a short film of the artist

at work in the ‘vogue’ studios

during the 1940s are also

shown. The exhibition also re-

veals lesser-known aspects

of Horst’s work, such as nude

studies, travel photographs

from the Middle east and es-

pecially from Iran, such as

the Persepolis bull, and pat-

terns created from natural

forms as flowers, minerals,

shells and butterfly wings.

Horst new, lavish prints in

platinum-palladium are also

showcased as the finale to

the exhibition.

57

V&A MUSEUMSOUTHKENSINGTONcromwell road

London SW7 2rL

+44 (0)20 7942 2000

[email protected]

www.vam.ac.uk

opening times

10.00 to 17.45 daily,

10.00 to 22.00 Fridays

Horst directing fashion shoot with Lisa Fonssagrives, 1949Photo by Roy Stevens /Time & Life Pictures / Getty Images

your image goes here!*

submit yout work and be a part of SHooT Me

[email protected]

*

60

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© b i e l c a l d e r o n

61

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ship�still�arises�confusion�in�me.��

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“minority�population”,�as�they�are�called.

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E x p l o r i n g H a w a i i ’ s S o u t h P o i n t

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© S i m a s L u c a s c a s t i l l o

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c a p t u r i n g I n s p i r a t i o n

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T h e A l m o s t c i r c u s a n d I n v i s i b l e A u d i e n c e

217

D r e a m c a t c h e r

221

W i l d b i r d s b u r n i n g

222

T o b l o o m i n S i l e n c e

226

T h e S i n k i n g S h i p

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T h e S t o r m A b o v e t h e c l o u d s

230

F l o a t i n g o n c l o u d s

233

I n v a d i n g H o m e s

234

T h e P r o t e c t o r o f M a g i c

237

T h e P a t h U n d e r T h e S k y

238

T h e F a l l i n g o f A u t u m n D a r k n e s s

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