Provocateur Edition by Visions Libres by Louisa Dawn / Visions libres

edition of impatient violence

PROVO CATEUR

(c)Rick Tardiff

Special Edition of Visions Libres Magazine

PROVO

CATEUR

In “PROVOCATEUR”, a word borrowed directly from French, one sees the English verb

“PROVOKE.”

Both “PROVOKE” and “PROVOCATEUR” derive from Latin provocare, meaning “to call forth.” Why do we say “PROVOCATEUR” for one who incites another to action, instead of simply “PROVOKER” ? Perhaps it’s because of “AGENT

PROVOCATEUR,”

a term of French origin that literally

“PROVOKING AGENT.” Both “AGENT PROVOCATEUR” and the shortened “PROVOCATEUR” means

can refer to someone (such as an undercover police officer or a political operative) whose job is to incite people to break the law so that they can be arrested, but only “PROVOCATEUR” is used in English with the more general sense of “ONE WHO PROVOKES.”

PROVOCATEUR

– the Special-Edition of Visions Libres Magazine 2

e z t n u K n i t s r e K Â© 3

Â©Kerstin Kuntze

deliberate provocation DELIBERATE

PROVOCATION

ÂŠYann C ielat

Indeed, I admit that I look forward

TO THE JOUSTING AND THE CONTRASTING POINTS OF VIEW 7

ÂŠYann C ielat 9

f f o h l e d a Z n a v e l l ie ©Dan

When your work is stirring different views it means either (a) you’ve touched A VERY SENSITIVE SUBJECT or (b) persons exposed to it are seeing it in ways you never intended.

f f o h l e d a Z n a v e l l ie n a ÂŠD 12

ÂŠValerie

Simonne t

Artists stimulated interest and excitement

THROUGH »THE PROVOCATION«

Artists used provocations

AS A STIMULUS TO MEANING MAKING. They inserted an unfamiliar object, image, sound, person, event or action

INTO FAMILIAR CIRCUMSTANCES.

ÂŠValerie

Simonne t 17

Â©Frank La ssak MIXOTARIANS_1 18

MIXOTARIANS_2 19

MIXOTARIANS_3

MIXOTARIANS_4

k a s s a L k n a r Â©F

n e s n r e W m e l il W ÂŠ

When people encountered something or someone deliberately ambiguous, unexpected, strange, out of place, open and/or contingent,

THEY HAD TO USE THEIR EXISTING KNOWLEDGE AND THEIR IMAGINATIONS TO MAKE SENSE OF IT.

HOWEVER, ON THE FACT THAT NOT HE, but the other than The troublemaker puts on it,

norm breaker stands there.

ÂŠWillem Wer nsen 25

©Antoin

e Delsol it

The provocation provided a platform for thinking

OF IDEAS AND POSSIBILITIES.

The provocation demanded an explanation,

A RATIONALE FOR APPEARING IN THEIR LOCATION. The story-makers that we saw regularly

USED PROVOCATIONS.

One had been a dinosaur which travelled around the country

LETTERS DOOR.

SENDING THE CHILDREN

from a range of unfamiliar places. Another sang

OUTSIDE THE CLASSROOM

Some routinely brought objects into the class to »KICK OFF«

STORYMAKING SESSIONS.

A STORY OF A PROVOCATION

t i l o s l e D e n Â©Antoi

e u g a i t s i S s i c n a r ©F »MOIRA GOT BOOTS«

Academy of Arts San Francisco, 2014 Mamyia RZ67

»MICHAEL«

Protester at 99% protest, Oakland, California 2013, Nikon F4 Tmax 400 Kodak

»CHLOE«

Academy of Arts San Francisco, 2013, Mamyia rz67

e u g a i t s i S s i c n a r Â©F

. K e g i w d E Â©

THE SELFCONFIRMATION OF THE SUBJECTIVE The provocation serves, above all

reality construction. Provocations are also methods of the selfrepresentation

LIKE THE ESCALATION OF CONFLICTS.

. K e g i w Â©Ed

As a medium of the allocation of identities

PROVOCATIONS ARE SUITED PARTICULARLY, because they are triggers and amplifiers circularly of social conflicts.

i u k u F a Â©Tetsuy

THE TROUBLEMAKER

undertakes a stigma, he stigmatises himself. AT THE SAME TIME however, it is the aim of the PROVOCATION to throw down stigmas and to roll on others.

i u k u F a Â©Tetsuy NOT THE NORM BREAKER,

but the norm guardians and enforcer

SHOULD STAND THERE,

end, as the actually culprits.

in the

PROVOCATION as the production of the other. THE TROUBLEMAKER

always believes to know what is the truth of the other. If there has been a NORM BREAK, THE UNSOUND MUST COMMIT a bigger norm break which puts the first norm break in the shade.

©Loïc Guston

DAVID LYNCH

Montparnasse, Paris

n o t s u G c ï o L ©

With such POWER PLAY the role of the audience is The majority of the spectators rather AMBIVALENT. PLAYS NO ROLE. Therefore, they are called also spectator. The troublemaker must also know the interpretation patterns of his spectators. OTHERWISE, he runs the risk that his action is recognised as a provocation, AS A LOW ACT AND

IS AVENGED.

ÂŠManuela Matos Monteiro

o r i e t n o M s o t a M a l e u n a M Â© 49

ÂŠArmano Jericevic

To the OMNIPOTENT STATE a power over which he can pass not just like that should be opposed. THE PROVOCATION consists in questioning straight the power of the state.

While most people keep

ETHICAL REASONS

TO THE LAWS, FOR

or from fear of punishment, the state power is challenged here

OPENLY AND STRAIGHT. 52

c i v e c i r e J ÂŠArmano 53

In this the subtle PR OV OC AT IVE BE HA VIO UR appears. Instead of attacking

OF FE NS IVE LY TH E OT HE R, one provokes the attack

of the other, one can present himself as a victim of the other.

f f i d r a T k c i Â©R 55

This is

TIMOTHY,

he was robbed last night SLEEPING OUTSIDE $20 and his food ... #PROVOCATEUR he told me HE WASN’T ANGRY about the money but the food was important to him ...

f f i d r a T k c ©Ri

BOTH WORK

Â©Anuschka

Wenzlawski

A PROVOCATION IS SUCCESSFUL

when the other has been urged to

A REACTION

If the other does not REACT, or from fear of punishment, the troublemaker stands as

A LOSER, AS A FOOL. 60

i k s w a l z n e W a k h c s u Â©An 61

Â©Jim Roche 63

e h c o R Â©Jim

however,

Of course a provocation can be also parried,

IN THIS CASE

one recognises the other than opponent.

k a i p m e K ÂŠDieter

MOREOVER, ONE RUNS

the risk to encourage the other to other TAUNTS by his reaction and to lose, so perhaps, NEVERTHELESS, STILL .

k a i p m e K ÂŠDieter 69

IF THE OPPONENT

has recognised the action of the other than provocation (even if it was none), EVERY OTHER ACTION can be understood as a PROVOCATION.

n u a r B . J a r d n a x e Â©Al 71

r e l b a G e n i t s i r h C Â© If third are present WITH THE and that is mostly the case, of the troublemaker increase

PROVOCATION, CHANCES AND RISKS

AT THE SAME TIME.

r e i n i r a M e u q i n i Â©Dom Provocation as the WEAPON of the weak? Provocation appears rather in relations with POWER SLOPES and mostly by the weaker side are applied. 73

The participants

IN THE COMMUNICATION are caught in a kind of VICIOUS CIRCLE

of which they can come out only hard without FACIAL 74

LOSS.

s e i r V e d Â©Juul

Â©Juul de Vries

Lying with her long legs over

LOVELY FOREST,

A TREESTUMP IN A

modelling by the charming lady EL NOUR NETHERLANDS. This photography has been

FROM THE

CENSORED.

s e i r V e d Â©Juul 78

Summer in the Netherlands. A cooling down in the lake for the

GORGEOUS POWERWOMAN

named Rose.

ÂŠKatarzyna Marianna

Romaszewska

Â©Myriam Hofer 82

PROVOCATION giving an OPPORTUNITY â&#x20AC;¦

â&#x20AC;¦ of Reading

BETWEEN THE LINSES

r e f o H m a i r y M Â© 85

e b a G l e i r Â©Mu 86

OUTBREAK OF THE CONFLICT With the

has achieved

AIM.â&#x20AC;&#x153;

the provocation

HER FIRST

l e f p a z l o H n n a J Â©

Â©Draz Fot o 90

Â©Robert Nigel Place-Brown 92

n e m m o h T d n o Â©Edm 94

Who provokes, searches THE CONFLICT. he signs off on the enemy IN A SPECIFIC MANNER: While he irritates the other side, until this swings to the COUNTERBLOW, so that it looks in such a way as if it is the AGGRESSIVE PART.

Â©Edmond Th ommen

t o o r G e d x e l Â©A

A provocation can DEGENERATE, perhaps, deliberately, into PHYSICAL

POWER.

RHETORICAL AND SPIRITUAL ABILITIES sympathies can be easily won, in this case the BATTLE

With suitable

is already decided.

100

Â©Alex de Groot 101

o l y b y z r P a n y z r a t a K a t a Â©Be

A hundred years after she was murdered on HER WEDDING DAY the vengeful spirit of a warrior princess comes back to possess THE BODY OF A YOUNG BRIDE who fell victim to a similar fate. 102

103

o l y b y z r P a n y z r a t a K a t a e Â©B 104

105

y a k c M Â©Phil Provocations as a CIVIL DISOBEDIENCE The punks of the 70s and 80s PROVOKED

ESTABLISHMENT,

THE

while they offended against certain norms of clothes and appearance SYSTEMATICALLY.

106

107

Can you keep a

108

SECTRET?

y a k c M Â©Phil Same old

FEARS.

109

Â©Olga Karlovac 110

Some time later, when the

ORIGINAL THOUGHT â&#x20AC;¦ 111

c a v o l r a K a g l O ©

… is apparently erased from our MENTAL STOREHOUSE, an incident will occur bringing the idea back front and centre and reminding you of your

ORIGINAL OBSERVATION. 112

113

114

e g a v a S k c a Â©J 115

Â©Jack Savage 116

The

SURPRISE

mostly refers to the

RESPECTIVE SITUATION,

because skilful provocations assume A LONGER ACQUAINTANCE, a probably conflict-laden respect, so that an attack might not be

COMPLETELY ASTONISHING.

117

Among

HUMAN BEINGS caught up in a HECTIC LIFE,

it is often the case that a thought will come across our MENTAL SCREEN, sometimes from a comment overheard, or a â&#x20AC;¦

118

…

SIGN ENCOUNTERED,

or even from a prolonged and heated public discussion, and the thought flits in and flits out

AND IS GONE.

s i r d n a x e l a p a P y n n e J © 119

s h p e s o J e o J Â©

I was reminded of an incident, going back 20 years,

MADE ME REFLECT. 120

THAT

121

If a society really gets by WITHOUT CRISES, the suspicion is obvious that it does not stand

THIS SOCIETY

to the best one.

122

o n o t n a w h c E i t k u M Â© 123

For the first but not the last time, on how the work of an

ARTIST CAN PRODUCE, in the same

MONOGAMOUS AUDIENCE it was aimed at, such

DIFFERING INTERPRETATIONS.

i k s w o m o P a i d u a l C Â© 124

125

126

i k s w o m o P a i d u a l C Â© 127

The point which had come home to me wit h

F O R M Y Y O U N G quEite a jolt ARS,

o t r e i s e D l e D ́ n o m i S © and repeated many ti

I S T H A T A ResTsi, nceB,Yincluding this past week, I T S V E R Y N AT U R E in different quarters ,… ,

128

â&#x20AC;Ś and the more intricate or developed

THE ART THE MORE

convoluted the responses.

129

130

ÂŠSimoĚ n Del Desierto

131

e n e r i S e i k ©Soo Furthermore, and this is my

ESSENTIAL POINT,

a piece of popular art –

FILM,

SONG, SCULPTURE, PAINTING,

whatever – while the property of its

CREATOR, BECOMES APPROPRIATED BY MANKIND

in the sense of what he/she sees or feels or experiences when

EXPOSED TO THE WORK.

132

133

TO PUT IT DIFFERENTLY,

(and this as good a definition of art as I know)

YOUR WORK, IF NOT APPROACHING ARTISTRY, â&#x20AC;¦

134

©Sookie Sire ne

… is already there when it is generating

A MOTLEY VARIETY OF RESPONSES,

even outlandish ones, from those exposed to it. 135

r o d a v l a S © D a ni It means you have created layers,

PERHAPS EVEN SUBCONSCIOUSLY,

several of which are invisible to some or are

SHOUTING LOUDLY TO OTHERS. So if you write a song and SIX DIFFERENT PEOPLE

see ten different things in it,

STAY WITH THAT FORMULA. You’re on the right artistic track – EMBRACE THE TUMULT.

136

137

r o d a v l a S Â©Dani

138

139

140

r e s u a h n e s h c a S a r Â©Sand 141

r e s u a h n e s h c a S a r Â©Sand THE NORM BREAK

break is the injury of rules of the

RESPECTIVE SOCIAL SYSTEM. Indeed, here one must make

A DISTINCTION NORM BREAK.

between deliberate and careless

142

143

144

Â©Erwin Schwaiger In certain societies

THE IMPLEMENTATION OR OMISSION

of a certain gesture can be understood as

INSULT OR PROVOCATION

(as a challenge of the authority other).

145

Who does not know, however,

THE RULES OF THE SOCIAL SYSTEM,

the intention has not presumably had to challenge s

THE OTHER.

146

r e g i a w h c S Â©Erwin 147

148

r e v i l O y n o h Â©Ant

149

ÂŠAnthony 150

Oliver

151

152

n e s s i n n e J Â©Theo 153

Â©Theo Jennissen

154

155

n e y u g n e S l ÂŠMiche

156

157

Provocations are initiatives of New-Negotiation of NORMALITY. They want to redistribute

LEGITIMACY and mix thereby the maps in the POWER PLAY A NEW â&#x20AC;¦

158

a fi a r g o t o F d a r n o K Ĺ&#x201A; a ÂŠMich

159

a fi a r g o t o F d a r n o K Ĺ&#x201A; ÂŠMicha 160

The DELIBERATE can push the other in the

NORM BREAK

DEFENSIVE

and revalue â&#x20AC;¦

161

â&#x20AC;¦ the troublemaker, above all in the eyes of

THIRD MORALLY.

162

a fi a r g o t o F d a r n o K Ĺ&#x201A; a ÂŠMich

163

l l e d n i L n a Â©Joh 164

As a strategy for the POWER RELATIONS provocation might not be sufficient as a rule. However, it can be a part of a

BIGGER STRATEGY, â&#x20AC;¦

165

l l e d n i L n ÂŠJoha â&#x20AC;Ś so absolutely functionally

IN LINKING

with other instruments of power. However, OBVIOUS one also needs the allies who support aimed aim that.

166

167

z e r r ́ e i t u G n ́ o r i G a d n ©Yola Whether the however

COUNTERSOCIAL STIGMA

of the powerful figure undermines

HIS POWER

also on a continuing basis,

WILL DEPEND ON THE ONE HAND …

168

169

… on the whole constellation of the strength relations

IN THE FIGURATION

of the general distribution of the

RESOURCES AND INSTRUMENTS of power and the access

TO ORGANIZATIONAL POWER SPRINGS …

170

z e r r ́ e i t u G ́ n o r i G a d ©Yolan

171

n e l e k e E n a v r e t e P ©

ed not least, id c e d y b ION e r T e A th C d n O a V h r O e R th o P e HE T T … and on th N E T X E T T O W H As an element of a general a strategy of the

WE COUNTERPO

R…

172

173

t in principle n e s e r p e r h ic s articulate wh S T S . im la c e m ti e â&#x20AC;¦ at the sam D INTERE

GENERALISE

174

n e l e k e E n ÂŠPeter va 175

n a m f f o H Â©Edith

176

AGENT PROVOCATEUR

Mata Hari

177

MILITARY SECRETS

from her many lovers made n enduring archetype of the femme fatale.

178

DOUBLE

MATA HARI

Her life

INSPIRED a number of films. MATA HARI

was a Dutch exotic dancer and courtesan who was convicted of being a SPY and executed by firing squad in France under charges of ESPIONAGE FOR GERMANY during World War I.

179

ABOVE ALL,

the selfconfirmation of the

SUBJECTIVE REALITY CONSTRUCTION: The Provocation

are strategical elements of the collective action and basic patterns of a

SYMBOLIC PRACTISE …

180

181

â&#x20AC;¦ in which the actors of her foreign pictures and SELFIMAGES make sure, her reality constructions protect and hold

THE MOVEMENT IN MOVEMENT.

182

183

184

185

186

188

190

l b e i r G a ÂŠClaudi

191

193

194

n n a m f f o H ÂŠDorota 195

196

METHODS OF THE SELFREPRESENTATION Provocations are also

like the escalation of conflicts â&#x20AC;¦

199

Like most actions the with as low as

PROVOCATION ON THRIFT

POSSIBLE EXPENDITURE

a very big effect is over achieve.

200

e r g e l l A e c ÂŠLauren 201

202

EVALUATIONS

ON MORAL

or on questions a la „the purpose justifies the means“.

WHAT THE USA, ISRAEL OR RUSSIA …

203

… call terrorism, is seen by others than

or violent methods should occur.

204

205

Turning the into a good

through

Put simply, movement is what we mentally do PROVOCATIONS into usable ideas. 206

TO TRANSFORM

207

209

There are Iâ&#x20AC;&#x2122;ll only

SEVERAL WAYS IN WHICH

movements can be created, but for now

DISCUSS MOVEMENT

via principle.

210

211

IN MOVEMENT VIA PRINCIPLE,

we extract a key idea from the provocation thatâ&#x20AC;&#x2122;s important

IN SOLVING THE PROBLEM. We then devise a MORE REALISTIC SOLUTIONS based on that principle.

212

A SUCCESSFUL PROVOCATION CANNOT BE REPEATED.

The problem is clear .

Either it must be increased,

OR SHE LOSES TO EFFECT. 214

Though Greenpeace can take a whale catcher and demand with it ATTENTION, Greenpeace would do this every week, the interest would fast decrease, completely apart from the fact that the OPPOSITION TAKES MEASURES which make to a repetition difficultly or IMPOSSIBLY.

216

r e v a r T a ÂŠBĂĄrbar

217

218

219

n e s s n a J n i ÂŠMart 220

Social movements can use provocations TO CHANGES desired by them from the

REACH THE

STATE AND THE SOCIETY.

221

222

n e s s n a J ÂŠMartin

223

224

ARE

VULNERABLE.

225

226

Kev Kevin (www.kev-makeup.com) MODEL Yun Lee (http://lsps9150527.wixsite.com/leeyunsite) HAIR Weic Lin ( www.weiclin.com) DESIGNER Ann Chuang

228

229

MAKE UP

Kev Kevin (www.kev-makeup.com) MODEL Yun Lee (http://lsps9150527.wixsite.com/leeyunsite) HAIR Weic Lin ( www.weiclin.com) DESIGNER Ann Chuang

231

MAKE UP

MODEL

Pobe Liu 232

Yun Lee

MODEL

MAKE UP

Yun Lee

Â©Jimmy JL

Pobe Liu 233

America:

LAND OF THE OPPRESSED Part I

235

America:

LAND OF THE OPPRESSED Part II

237

America:

LAND OF THE OPPRESSED Part III

238

PROVOCATEUR

is an Special-Edition of

VISIONS LIBRES MAGAZINE Provocateur by Visions Libres is an INDEPENDENT

Contemporary Art- and Photography Magazine. The Magazine involves any kind of

ART

regardless of technique or period such as

ILLUSTRATION, PAINTING, DIGITAL ART, PHOTOGRAPHY, AND LITERATURE.

All Images and Text published in

PROVOCATEUR BY VISIONS LIBRES are the sole

PROPERTY OF THE PUBLISHED AUTHORS and the subject

No image or text can be

REPRODUCED, EDITED, COPIED OR DISTRIBUTED without the express written permission of its

LEGAL OWNER.

PROVOCATEUR

is an Special-Edition of Visions Libres Magazine

240

PARTICIPATING ARTISTS Kerstin Kuntze: www.facebook.com/kkuntze.bildwerkk, www.facebook.com/kerstin.kuntze / Yann Cielat: www.facebook.com/yann.cielat, www.facebook.com/ycielat / Danielle van Zadelhoff: www.facebook.com/profile.php?id=100008402799940, www.facebook.com/Danielle-van-Zadelhoff-1548606148701677 / Valerie Simonnet: www.facebook.com/simonnet.valerie / Frank Lassak: www.efactsphoto.com, www.facebook.com/frank.lassak / Willem Wernsen: www.facebook.com/willem.wernsen, www.facebook.com/Foundation-Photography-Willem-Wernsen-163820436969981 / Antoine Delsolit: www.facebook.com/profile.php?id=100013342838916 / Francis Sistiague: www.facebook.com/francis.sistiague / Edwige K.: Edwige K. : www.facebook.com/edwigek / Tetsuya Fukui: www.facebook.com/tetsuya.fukui.65 / Loïc Guston: www.facebook.com/loic.guston, www.facebook.com/LoicGustonPhotography / Manuela Matos Monteiro: www.facebook.com/manuelamatosmonteiro / Armano Jericevic: www.facebook.com/armano.jericevic / Rick Tardiff: www.facebook.com/rick.tardiff / Anuschka Wenzlawski: http://aw-fotoart.de/, www.facebook.com/awfotoart / Jim Roche: www.jimroche.ca, jimroche.tumblr.com, www.facebook.com/jimroche / Dieter Kempiak: www.facebook.com/profile.php?id=100011354262223 / Alexandra J. Braun: www.facebook.com/profile.php?id=100010187044474, www.facebook.com/Ellexbrownphotography1610932569168932 / www.facebook.com/myeyesbychristine / Dominique Marinier: www.facebook.com/dominique.marinier.31 Juul de Vries: www.facebook.com/juul.devries.7 / Katarzyna Marianna Romaszewska: www.facebook.com/katarzynam.romaszewska / Myriam Hofer: www.facebook.com/myriam.hofer.7 / Muriel Gabe: www.facebook.com/Muriel-Gabe-Art-Design-1455345124749896, www.facebook.com/murielgabe1 / Jann Holzapfel: /www.facebook.com/najj.lefpatzloh / Draz Foto: www.facebook.com/draz.foto, www.facebook.com/draz.annecy / Robert Nigel Place-Brown: www.facebook.com/profile.php?id=100009918701488, www.facebook.com/robertbrownprints / Edmond Thommen: www.facebook.com/etinsyd /Alex de Groot: www.facebook.com/alex.degroot.161 / Beata-Katarzyna Przybylo: Beata-Katarzyna Przybylo: www.facebook.com/beatakatarzyna.przybylo / Phil Mckay: www.facebook.com/phil.mckay.33 / Olga Karlovac: www.facebook.com/olga.karlovac / Jack Savage: www.facebook.com/jackowensavage, www.facebook.com/Jack-Savage-Photographer-379824628801900 / Jenny Papalexandris: www.facebook.com/jenny.papalexandris, www.facebook.com/JennyPapalexandris.OnPhotography / Joe Josephs: www.facebook.com/joe.josephs.7, www.facebook.com/joejosephsphotography / Mukti Echwantono: www.facebook.com/mukti.echwantono / Claudia Pomowski: www.facebook.com/claudia.pomowski / Simón Del Desierto: www.facebook.com/saman.asadi.7 / Sookie Sirene Hannaas: www.facebook.com/SookieSirene, www.facebook.com/msSooAr t / Dani Salvadori: www.facebook.com/dani.salvadori.9 / Sandra Sachsenhauser: www.facebook.com/sandra.sachsenhauser, www.facebook.com/sasaphotographyart / Erwin Schwaiger: www.facebook.com/schrankenlos.bahnhofschwaz / Anthony Oliver: www.facebook.com/anthony.oliver.336333 / Theo Jennissen: www.facebook.com/theo.jennissen / Michel Senguyen: www.facebook.com/profile.php?id=100008233445262 / Michał Konrad Fotografia: www.facebook.com/shadow10021983 / Johan Lindell: www.facebook.com/johan.f.lindell / Yolanda Girón Gutiérrez: www.facebook.com/yolanda.girongutierrez / Peter van Eekelen: www.facebook.com/peter.vaneekelen.52 Edith Hoffman: www.facebook.com/EdithHoffmanPhotography, www.facebook.com/alershoffman / Vesna Stojkovic: www.facebook.com/vesna.stojkovic.123276 / Dominic Brecken: www.facebook.com/dombrecken / Claudia Griebl: www.facebook.com/cege777 / Angie Stergio: www.facebook.com/angiestergio12 / Dorota Hoffmann: www.facebook.com/dorota.hoffmann / Peder Aresvik: www.facebook.com/peder.aresvik / Laurence Allegre: Laurence Allegre: www.facebook.com/farid.bousba.7 /Jos Tontlinger: www.facebook.com/j.tontlinger / Peter Willemse: www.facebook.com/peter.willemse.7 / Rogojin Ïoksovy: www.facebook.com/rogojin.ioksovy / Bárbara Traver: www.facebook.com/breakingsighss, www.facebook.com/Traverphotographyart / Laurent Hette: www.facebook.com/laurent.hette, www.facebook.com/Laurent.Hette.Photography / Martin Janssen: www.facebook.com/martin.janssen.10 / John Naughton: www.facebook.com/john.p.naughton.9, www.johnpatrick-naughton.com / Jimmy JL : www.facebook.com/profile.php?id=100009385186639, www.facebook.com/funworkStudio / Weswes Freshink: www.facebook.com/wesley.bloquert.3 / 241

edition of impatient violence

PROVO CATEUR

(c)Rick Tardiff

Special Edition of Visions Libres Magazine