SHOOT ME Magazine ISSUE #30_OCT_015 by SHOOT ME Magazine

PAUL SOLBERG TEN YEARS IN PICTURES

Shoot me /ʃuːt

1. hit me with a bullet

mi/

2. take my picture

3. throw me out of a canon, hit me with your arrows and help me discover a new side of me (an artistic side) 4. kill my old self,

Art revolving /ɑːt

revive me.

rɪˈvɒlvɪŋ/

1. swirling art 2. the ever-rotating art. rotating around itself, around me, across the universe.

3. the art that never seizes.

2015, ATHENS / GREECE shootmemag.com publisher_artdirector

ISAVELLA MAVROYIANNI creative@shootmemag.com publisher_webadmin

JAD McMEOLA web@shootmemag.com contentcoordinator

GERASIMOS PAGONIS coord@shootmemag.com c u l t u r a l e d i t o r

KATERINA XIDAKI culturaled@shootmemag.com c o p y e d i t o r

IRO JAGUAR copyed@shootmemag.com

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O C T _ 0 1 5

P S

A L

U E

L G

46 Julija Goyd

76 Robert MacNeil

92 Pietro Basoccu

124 Ilka & Franz

136 Claudio Menna

10 Joel-Peter Witkin:

The World Is Not Enough

12 In and Out of the Studio:

Photographic Portraits from West Africa

22 Bruce Gilden:

American Made

28 Paul Solberg:

Ten Years In Pictures

’

it’s

NOW or never E n j o y o u r # 3 0 t h

galerie hiltawsky, Berlin

S e p . 1 7 . 2 0 1 5

Joel-Peter Witkin: The World Is Not Enough

w w w . h i l t a w s k y . c o m

Joel-Peter Witkin | Histoire du Monde Blanc - Venus a la préférence de Christ | Paris, 1997 | © Joel-Peter Witkin | courtesy galerie hiltawsky

George A. G. and Albert George Lutterodt (Ghanaian, active from 1876) Five Men, ca. 1880-5 Albumen silver print from glass negative 6 x 4 in (15.2 x 1.5 cm) Purchase, Ross Family Fund Gift, 1999 (1999.184.1)

I n a nd Out of t he St ud io : Photographic Portraits from West Africa 100 years of portrait photography in West Africa by Katerina Xidaki

The Metropolitan Museum of Art in New York presents, from August 31 to January 3, the history of portrait photography in West Africa from 1870 to 1970, in a group exhibition under the title ‘In and Out of the Studio: Photographic Portraits from West Africa’. When photography arrived in Africa in the 1840s, local artists and studios began adapting the new medium according to preexisting visual codes and traditions of portraiture. West African, African-American and European photographers were taking photos for elite families all along the Atlantic coast by the 1880s, while by the 1920s several West African city centers had established studios, as photography had been widely adopted as a medium of portraiture. Between the 1950s and the 1970s, when several countries passed from the colonial status to independence, photography expanded beyond the cities serving its new clientele, the rising middle class that was influenced by popular magazines and films from Europe, the United States, North Africa, and India. Photography eventually became among the most consumed media.

Unknown Artist (Senegal) Portrait of a Woman, ca. 1910 Glass negative 6 x 4 in (16.5 x 11.4 cm) Gift of Susan Mullin Vogel, 2015

16 Seydou Keïta (Malian, 1921/23 – 2001) Reclining Woman, 1950s-1960s Gelatin silver print, 1975 5 x 7 in (13 x 19 cm) Gift of Susan Mullin Vogel, 2015 ©Keïta/SKPEAC

“When you’ re a photographer, you always have to come up with ideas to please the customer. My experience taught me the positions that my customers liked best. You try to obtain the best pose, the most advantageous profile, because photography is an art, everything should be as close to perfection as possible” -Seydou Keïta

Featuring nearly 80 artistic samples – photographs, postcards, real photo postcards and negatives many of them shown for the first time, the exhibition presents works by amateur and professional photographers, taken inside and outside the studio. Some of the artists in this group exhibition are renowned beyond Africa, such as the selftaught Malian Seydou Keïta, who with his photographs created the myth of Bamako as a cosmopolitan city, the Nigerian J. D. 'Okhai Ojeikere with his photographs of subjects with intricate hairstyles and the Cameroonian Samuel Fosso with his extravagant self-portraits in different costumes. Both Ojeikere and Fosso investigated the limits of portrait photography, questioning the distinction between sitter and photographer, document and artwork, reality and fantasy. The work of lesser-known artists, such as George A. G. Lutterodt from Ghana, the Lisk-Carew Brothers from Sierra Leone, and Alex A. Acolatse from Togo, will also be on display.

This exhibition uses a variety of artistic examples to help us understand West African portrait photography and the depth of the medium in expressing the complexity of this portraiture. It is divided into seven titled sections: ‘Pioneers of Photography’, ‘Postcards’, ‘Amateur Practices’, ‘Studio Practices in Senegal’, ‘Malick Sidibé’, ‘Seydou Keïta and Oumar Ka’, and ‘Studio Practices in the 1970s’. All the works of the exhibition are drawn from the Metropolitan Museum’s Visual Resource Archives in the Department of Africa, Oceania, and the Americas, with additions from the Department of Photographs.

Oumar Ka (Senegalese, b. 1930) Man Standing in a Courtyard, 1959-1968 Inkjet print, 2015 Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas

Unknown Artist (Senegal) Two Girls, Indoors, ca. 1915 Gelatin silver print from glass negative, 2015 2 x 3 in (5.7 x 7.6 cm) Visual Resource Archive, Department of the Arts of Africa, Oceania, and the Americas

The Metropolitan Museum of Art 1000 Fifth Avenue New York 10028-0198 212-535-7710 www.metmuseum.org Opening hours Sunday–Thursday: 10:00 a.m.–5:30 p.m., Friday and Saturday: 10:00 a.m.–9:00 p.m.

BRUCE GILDEN: AMERICAN MADE Capturing street moments, creating characters by Katerina Xidaki

“I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images I live with them. At the same time, they are symbols” -Bruce Gilden

Bruce Gilden | Donna, a card dealer. | Las Vegas, Nevada, USA. © Bruce Gilden/Magnum Photos

Bruce Gilden | 13 foot albino python in the Bottoms neighbourhood. | Columbus, Ohio, USA. © Bruce Gilden/Magnum Photos

Leica Fotografie International (LFI) presents, from September 10 to October 28, the exhibition of the famous American street photographer, Bruce Gilden, under the title ‘American Made’, at LFI's exhibition space in Hamburg. Bruce Gilden, who is considered one of the most polarising American photographers, is best known for his harsh but at the same time candid close-up photographs of people who live on the margins of society, outside of socially accepted norms, using a flashgun. Growing up in Brooklyn, Gilden was fascinated by the life of the streets, the energy, the people… He dedicated his photographic career in capturing street moments and ‘characters’, creating his unconventional personal style. Bruce Gilden was born in 1946 in Brooklyn, New York and he studied sociology at Penn State. In 1968 he was so influenced by Michelangelo Antonioni's film ‘Blowup’ that he bought his first camera and he started studying photography at the School of Visual Arts of New York. His career in photography had just begun. His first major project focused on the sensuality of the bodies of the people at Coney Island, the famous Brooklyn beach. He has photographed people on the streets of New York, Japan's yakuza mobsters, homeless people, prostitutes, and members of bike gangs between 1995 and 2000. He has also photographed rural Ireland and horseracing there, as well as voodoo rituals in Haiti. Gilden has been a member of the legendary Magnum photo cooperative since 1998. He has published numerous books with his work, he has exhibited widely around the world and has received numerous awards, including the European Publishers Award for Photography, 3 National Endowment for the Arts fellowships, and a Japan Foundation fellowship.

Gilden’s most recent series, ‘Faces project’, is the result of an interaction moment between him and the people he is photographing, people who lives on the margins of society. This time he got so close up to his protagonists that he first asked them for permission before taking their picture. An extreme project, made with absolute sincerity, that reveals the ‘scars’ that life has left on the people who were not able to live the American dream. The outcome is ‘American Made’, a project that Leica Camera and the Leica Fotografie International (LFI) S Magazine have been following in the USA for a year. On display will be 6 brand new, large-format, color photographs that Gilden took during his 40 day trip throughout the United States. They are part of the famous ‘Postcards from America’ Magnum project.

LFI Photographie GmbH Springeltwiete 4 D-20095 Hamburg +49 40 226211280 www.lfi-online.de

27 Bruce Gilden | Minnesota State Fair. Minneapolis, Minnesota, USA. © Bruce Gilden/Magnum Photos

PAUL SOLBERG

T EN Y E A RS I N PI C TU R ES

everywhere. â&#x20AC;?Cameras Electricity blazing.

Everyone is taking pictures, but few are looking through a viewfinder

â&#x20AC;? 29

Philippe Petit, 2008

Over time, we build an elaborate universe of experience. What’s in front of us is already behind us. Here becomes there. We turn around and this moment falls into the distance. We recall amorphous shapes more than the details hovering in the shadows. Clusters of memory huddle together- the dim and the bright - waiting to be ignited. Shifting, twisting collages color our past. To cope with this trickery of time, we use religion, medication, money and reproduction. A t o u r b e s t , w e u s e l o v e . The camera is another way to calm the anarchy of time. To wrestle one moment to the ground and quickly put it under glass. The objective is not always to take the best picture, but to preserve one of the many moments lost. To freeze the microbes of memory that hang on each picture. A particular cloud or the crackling of a glacier. It’s a selfish intent, to take pictures as a memory bank, but it places feeling above perfection, avoiding the deception of the photographer’s eye. Cameras everywhere. Electricity blazing. Everyone is taking pictures, but few are looking through a viewfinder. We’re pleading with ourselves that we exist, our senses in spasm. We’re in the prequel of space tourism, while here on earth, connection and disconnection seem the same. People have grown accustomed to posing on cue, and portraiture has become more challenging. In the ten years these pictures were taken, there were years I was more interested in clouds, objects, or flowers. In some places, however, people still look into the camera with startling honesty. Vietnam. Spain. Navajo Nation. And still, Manhattan. Thank you, people on and off the street, for being open in this guarded world. We shared a moment before you flew off into the mind’s universe. Paul Solberg, NYC February 2015

Hoi

An,

2009

In the last 10 years, Vietnam is one of my favorite places. The people- rich or poor- are gentle and elegant, with the better attributes of humanity. Coming out of the last Century â&#x20AC;&#x2122; s American footprint in Vietnam, today there is all forgiveness and renewal.

Hoi An, 2009

Cheese Farmer, 2013

Cheese

Farmer,

2013

Living in Manhattan my favorite thing is to see n o t h i n g b u t s p a c e . One of my favorite things is a car trip through Cowboy Country, USA. In the middle of the Utah desert, we saw a small sign off the big open road, “ Cheese for Sale ” . Inside was this elegant gentleman (pictured) who had built an elaborate cheese cave 30 feet deep, in a part of the world not known for its culinary proficiency. This Cheese Maker works and cares for a new widower, a 70 year old man, who makes the bread. So the two men, sit on the porch, and talk to us, about cheese, and bread, i n t h e m i d d l e o f b e a u t i f u l “ n o w h e r e ” .

Empire

State,

2006

New Yorkers, we love this building. Although, intimidating to photograph. With all the great pictures from photographer Lewis Wickes Hine, capturing the drums and grit of the period. The workers hanging off its highest peak, capturing some of the most iconic American symbolism. This monolith rising out of the Great Depresssion and into the clouds, in an unprecedented one year and 45 days. F. Scott Fitzgerald, whom shares my birthplace of St. Paul, Minnesota, exemplifies the w o n d e r o f t h e c r e a t i v e y o u t h d r a w n t o t h e c i t y . In 2006, when I saw this building too beautiful to photograph, diffused by the construction of the new West Side Highway park project, it was my attempt, m y t r i b u t e .

Empire State, 2006

21st

Century

Wyeth,

2009

21st Century Wyeth, 2009

Under

Horse,

2009

I took this picture laying between the four legs of this horse. In my youth I was dragged by a horse after it hit a bees nest, and went flying. I had one leg in the stirrup and was flung around like a rag-doll. So it was 30 years later I cautiously introduced myself again. Now, one of my favorite things to do is l a y i n t h e g r a s s a m i d s t h o r s e s , and have them walk around me.This was one of those occasions.

Under Horse, 2009

Contortion,â&#x20AC;&#x2C6;2010

Contortion,

2010

There is a magic when you get a chance to photograph someone in mid-air. The body in acute tension and relaxation. That paradox gives the p e r f e c t c o n t r a d i c t i o n . This is the acclaimed dancer, Manuel Vignoulle, who floats in front of the camera.

43 PAUL SOLBERG

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Ma n in a f o re s t ©

Julija Goyd

47 © Julija Goyd

51 © Julija Goyd

55 © Julija Goyd

59 © Julija Goyd

63 © Julija Goyd

67 © Julija Goyd

71 © Julija Goyd

Semi-abstract idea of a man in nature is reduced to minimal with its essential means: light and dark.

75 © Julija Goyd

sp i n

Robert MacNeil

77 © Robert MacNeil

81 © Robert MacNeil

85 © Robert MacNeil

89 © Robert MacNeil

c lo se d

Pietro Basoccu

The project is realized in Ogliastra, a small province in the east of Sardinia, made of a small precious land and of a few inhabitants that during the time have isolated a nuraghic DNA and today it is an object of international studies. In fact, Ogliastra is the genetically closest place to that of 3000 years ago. In this land, industrial dreams were born and died, they have changed the territory from the anthropology, economic, scenery, environmental and social points of view. Factories in a desert land that have crumbled lives and left in agony a whole community.

97 © Pietro Basoccu

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A s d um b w i t n es se s o f an a ba n do n ed i nd u st ria l p r oc e ss , sk el eto n s wi t ho u t n a m e s, wa r eh o u ses , ma ch i n e ry a n d h ea ps o f b ro ke n g l a ss es r ema in, whi l e ou r mo u n ta i n s ar e w at ch i n g o v er t h em .

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Claudio Menna

Every day G. stands on a bench in the garden of the Institute in which is guest

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Inside the institute for kids with visual and psycho physical pathologies G. loves walking alone, even in those rooms not in use, in the darkness.

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G. shows me an old pictures who represents himself during his childhood.

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His daily life is always in balance between anger and stillness.

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G. and his lovely dog “ Lucky “.

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When G. rests on the bench in the Institute garden, he loves to hold in his hands flowers telling me it remember him of his mother.

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A night view of the comrade where the “guest” of the Institute sleep.

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G. loves take pictures with his digital camera, expecially when there’s sun and blue sky.

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G.’s mom is really sick but in spite of everything they help each other in all their daily issues. His mom fights everyday against her son’s disease who lets him sometimes mentally unstable and aggressive.

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When G. is in a difficult day, often he injures himself cutting his wrists or punching the glass wall in his house.

His battle is hard and strongbut G. knows he can fight it although his disabilities with the help of his family and his friends.

G. is a special boy, but his story is one like many others, the story of G. is nothing more than one more (extra) ordinary story. 174

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