We had a very good weekend in Düsseldorf displaying all those amazing photo magazines we received. The visitors were fascinated by the sheer amount as well as the individual publications. There was no point in time during the two days when no one was at the Magazine Salon. Normally there would be 10-15 people prowling around, sitting or standing at the tables and enjoying the publications.
It was such a success that we would like to carry on this project. So we are planning to exhibit the magazines again soon, at different venues; we’ll let you know about future events.
We’re also working on an own website where there’ll be a list of the archive, some additional information and a news section with upcoming Magazin Salon events. And: if you’re part of a photography-related magazine and we haven’t got in touch with you yet, please get in touch with us.
In the meanwhile, take a look at some pictures from the first Magazine Salon event:
The Magazine Salon is a project initiated by Calin Kruse (dienacht Magazine), Leon Kirchlechner (Der Greif), Shahin Zarinbal & Sina Michalskaja (KRAUT Magazine).
The Photographic ROUGH HOUSE presents 2 post-documentary workshops with internationally renowned photographers Cristina De Middel, Scott Typaldos and Kim Thue.
During each session a group of 10 people will be taken down a personal path to explore new means of creating visual documents, traveling beyond the classic documentary mechanics of storytelling.
Whilst discussing some unique possibilities within the realm of documentary photography, Cristina, Scott and Kim will strive to put the participants at the heart of the creative process through individual assignments that will encourage each one to uncover their own voice and approach.
The workshop will provide a fresh perspective and hopefully give its participants a renewed sense of experimentation, which they will be able to carry forward and expand in their future photographic practice.
For 5 days in June (From the 9th-14th and 14th-19th of June), both participants and the 3 photographers will stay in a beautiful country house, peacefully located in the Umbria region of Italy. This remote property will be our base and should provide the perfect framework for a rewarding and intimate experience. Transport will be arranged in order for the participants to immerse themselves photographically in the nearby town of Perugia.
Apart from gaining valuable guidance from the photographers, the successful realization of this workshop will largely depend on each participant’s willingness to push boundaries and challenge conventional ideas and processes. It will be 5 days of exchange, honesty and hard work, set in a supportive environment designed to further artistic development.
The successor to my first photo zine ‘Blinded By The Dark’, the continuation of the ‘underground music meets instant film’ theme. This time, the selected images are not the actual positives, but the carefully reclaimed paper negatives that come with peel-apart film.
150 x 185 mm (5.91 x 7.28 inches)
edition of 60
black & white digital print
Get it here.
Memymom is a collaboration between two artists, a mother (Marilène Coolens, 1953) and her daughter (Lisa De Boeck, 1985). Two self-taught photographers who work and live in Brussels, Belgium. ’The cross-generational project began with what the pair describes as a ‘hangover from the past’. They are referring to analogue image archive made from 1990 till 2003 of Marilène encouraging Lisa to express herself and to invent her own improvised theatre sketches.
Marilène began taking the photos that now make up ‘The Umbilical Vein’ when her daughter was just five and continued until she turned 18. Images of a nine-year old Lisa sitting on a bed in a Pucci blouse and high heels, others of her pouting seductively at the camera à la Marilyn Monroe or posing as Catwoman, capture the transformation of a child into a young woman. The photographs will leave few people cold. They taunt viewers, who find themselves wanting to give them a comfortable place within an understandable context. But a nagging question remains: Are they a statement on the sexualisation of girls, or do they simply add to that imagery? Or are they about something else altogether? According to the duo, they found inspiration for the characters Lisa portrays in their experience of the 1990s, the decade during which most of the photos were taken: pop culture, movies, fashion and pedestrians on the streets of Brussels. Lisa usually seems quite serious in the photos, often almost unhappy. But Marilène encourages you to look closer to find a child’s daily reality. And you find this in tiny details, such as a faint trail of spaghetti sauce in the corner of Catwoman’s mouth.
These semi-staged dreamscape portraits developed into a mature conversation that deals not only with metamorphosis, identity, the potential and maternal relationship, but has evolved into a plea for sensual analysis and tragic romanticism. It reveals both the foundations of the close mother-daughter bond and the professional career of this artistic duo, who have worked together under the moniker Memymom since 2004.
For the first time, the Magazine Salon will take place during the Duesseldorf Photo Weekend 2014. In the form of a pop-up library, it will give an overview over the contemporary photography-related magazine culture. The visitors are invited to take a breath, sit down and skim through a fine and diverse selection of international magazines with and about photography.
The Magazine Salon will take place at the NRW-Forum and is organised by dienacht Magazine Der Greif and Kraut Magazin.
If you’re part of a photography-related magazine and we haven’t got in touch with you, please get in touch with us.
Neverland is a series that was produced during the three years I was based in Berlin. The interiors, objects and still lives I photographed during this period reflect inner emotional states and also provide a record of that time and place. The images were slowly and carefully collected while living in different homes in Berlin and traveling to various european cities. In my newly adopted environment, the notion of home as well as details of domesticity became my main focus. Being away from most of my familiar references made my personal space a safe haven, the one refuge I could really appropriate. Hence, in a solitary exploration to appreciate beauty in the ordinary, I captured details of my everyday life abroad. The photographs form a collection of small moments meticulously assembled through time, depicting the romantic melancholy of a life without witnesses, except the camera lens.
The Armory documents the ever-changing sets of the pornography company Kink.com to investigate a sort of life within the structure of work. Private spaces are constructed for a public gaze, and work is veiled under the guise of personal life.
Devoid of people, the spaces allude to an activity, but leave the viewer to imagine the scene. Pornography, driven by demand, reflects an amalgamation of our desires. Yet its prevalence also changes real-world sexual habits creating a feedback loop of the fabricated becomes the real while the real becomes fabricated.
Sisterness is a photographic inquiry about identity and identification.
Personality is constituted by a series of identifications.
The first and most important persons we identify with are our parents. Later on, in our adolescence, we distance ourselves from them. We begin to cherish our individuality. But at the same time we look for other persons, friends, partners or other adults, to adapt to. We are searching for similarities, starting to assimilate to others by for example wearing similar clothes, or by sharing certain values and behavior.
By taking portraits of myself, together with other people such as family members, friends and people I barely know, I work on a personal approach towards visualizing the process of identification. Similarity is created by very simple means, such as wearing the same clothes and showing a similar expression. I am fascinated by the result of this assimilation, showing two individual persons merged into one virtual character. Sisterness (german: Verschwisterung) is a metaphor for this state.
Likewise, I am interested in the process of becoming like the other as a whole. During the portrait session, familiarity evolves between myself and the models. Conversely, the individuality of each one becomes evident when we face the camera, despite our physical resemblance.
With my portraits I would like to explore this contrast between closeness and distance, between insisting on our individuality and our longing for a symbiosis with someone like us.
Currently, the series consists of eleven portraits. I designed it to be a long-term project, to be followed up within my work process, as I’d like to visualize sisterness in all its complexity.