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artaffair magazine issue nº 5 - FRONTIERS November/December 2010


Chronic FRONTIERS 02

Art critic ANA ALLEN 03 Photography JEAN-FRANÇOIS PIRSON 05 Music CAMERA OBSCURA 08 3D FRANZ FERRIZ 09 Illustration JAMES MCPARTLIN 11 Cinema KANDAHAR 13 Multimedia HUGO DE ALMEIDA 15 Literature NEITHER HERE NOR THERE 18 Fashion PIN UP 20 Plastic arts MIRO SOARES 21 Destinations DUBAI 24 Tutorial SCRAPBOOKING 25

l a i r o t i ed

It’s true, we decided to change our face! Well, change our face and change our body, assuming a much bigger format to allow our images space to breathe! To our regular readers i do apologise: we were unplibished for some time because, beside the immense summer heat, we decided that our beloved magazine deserved a certain reformulation as well. Ergo the new face. And the new people behind some section. And the different sections. Well, but not all changes, what good existed already exists still, but with more and better company! It is not every day that you turn a magazine around, so we really hope this was a turn well made and that it was worth it. Personally, i do hope our “old” readers perfer this version of ours, more “clean2 and stylized, and that the new readers will be captivated by our “girl”. Artaffair was a risky step, an unsafe decision, a i-dont-really-know-what. Now it is a dream come true, a deep breath of relieve, a passionate sigh, a wall overturn, a border trespassed. The border of reason. I trespassed reason - mina and whomever told me that this wasn’t possible or doable. to those who doubted me and to those who believed in me, in us, in all of this amazing team that accompanies me on this trip, a very sincere thank you! See you soon!

Ana Pastoria

Contribuited to the creation of this issue: Ana Pastoria - art direction, editorial review and design; André Janicas - paging; Maria Matilde Marques chronic; Rita Roque - art critic; Daniela Rodrigues - photography; Fábio Fernandes - music; André Lages and André Abrantes - 3D; José Carlos Pereira - multimedia; Alexandre Mingatos - cinema; Miguel Martins - illustration; Margarida Lourenço - literature; Ana Rita Mendes - fashion; Joana Ferreira - plastic arts; Diana Aleixo - destinations; Marcos Soares - tutorial

by Maria Matilde Marques



FRONTEIRAS the imposed and the created When talking about borders we immediatly visualize the closed gates that the “Schengen” agreement raised in 1985, at the European common-space. But frontiers are not only delimitations between echonomic-administrative powers. They also exist on us and are as necessary as the one that separate a body from the environment around it, the skin. Some borders limit with precision spaces very precise and consistent like the walls of a penitenciary, others are tenuos and diffuse, like the one that separates good from evil. Througout time we raise around up, with prejudice and fallacy, walls that conduct our life. Frontiers exist and keep on being added during our creation as individuals. Frontiers are constructed and built while we mature our own individuality, tighten our creativity and imagination when the sun that we paint can not be green and the crown of the trees can not be blue. The girl had just turned six years old and was, without a doubt, a promissing youngster in the world of the arts. The drawing represented a beautiful gardin with trees, flowers and even a lake where two gorgeous swans were bathing. The sky spread out through a big exptension of the A4 page, at a corner, the sun projected his rays warm over the image. Little Joan gave wings to her imagination and painted, painted carefully not to get out of the limits of the drawings, painted matching the most beautiful colors, painted the most beautiful garden that she could ever imagine! “Honestly, have you ever seen a blue sun?” asked, rigid, the teacher. “The sun is orange or, at the very least, yellow, don’t you think? And the sky is green? The sky is blue! And the grass pink??? This is all wrong, little lady, all wrong!” she finished, sealing with this the destiny of another promissing artist. Setting borders to the imagination, here we go, growing to the “adulthood” of life!





ANA ALLEN at the border of art by Rita Roque


The border of the figurative is recognizable, and between a convict environment of return to painting are felt the contours of an expression assumed as individualist and reflexive. On each of thes canvas Ana Allen (1985, Porto), young emerging artist who has been developing painting since even before the hand outlined the trace, presents between the border of each canvas â&#x20AC;&#x201C; as surface of inscription of figures that compose temselves in multiple cinetic moments, the shadows of an imagination developed to the word. We fling thoughout the imaginative realism of the work os ana allen the subjectivity of the suspended moment, in a way of communitary and urban loneliness of our days. The stillness of the moment that, even so, crosser over the whole self movement of a especific comprehension, to know a certain imagetic framing, shows itself disperse from any other context on which may be inserted. These images, decontextualized from the real continuum to which they belong, get liberated from their correspondences and functions and are ready to establish and reveal new relations towards the gaze of the espectator. In a certain way, these bodies steal from the canvas its image and situation: once they detach the place, emboss the canvas, they are already desire of a emitter-receptor focus of a specific existence too fast or deeply instrospective.

in ways that overtake it, allowing to see the added pieces. From that adherence, the painting prorrogates the image, the image that in its essence is a drawing, and eventually creates the bodies that in their physical fragility and psychological duality commit like and object of intentions and interventions. To the bodies that move and present themselves in between an irony of plans where the fragment and the framing adds a less obvious and more seductor balm, leaves always open the certainty of a space that presents itself in the middle of the rules and rituals of norms of behaviour mandatory of a fresh and contemporary geniality. It will be a t this last point that the harmony between the sensuality and the spirituality of every chromatic lightness, or even of which more severe plan, induces the shock or the invitation torwards the espectator to share a pictural space. In that way, the painting of Ana Allen emanates the familiarity of a share of memories, of a narrative memory that appeals to the contemplation of the spectator in the effective articulation of continuous lives, frontiers and movement.

Paintings that oscilate between the silence of a solemniness and the reservation of deafening moments in a show that approximates itself equally to the permormative universe, in a oneiric logic of sequence of a suspended movie. The presence of the bodies give place to the confrontation of all limits, in a profound desire of communicating. The try to liberate themselves each time further from the painting, including little notes of texture and emboss that add an interior/exterior relation torwards the space on the canvas,



JEAN-FRANÇOIS PIRSON dessine-moi un voyage






CAMERA OBSCURA the illuminism of sound by Fábio Fernandes


What soothing voice sings lost in the middle of sounds that make us remind a far away country on the lands of a dream? It is not a dream, although for long moments it seems not to be real and that it would not be possible to do something so sublime, that would wrap up and make us travel without leaving our place. The people responsible for this are the scottish quintet currently composed by Tracyanne Campbell, Kenny McKeeve, Gavin Dunbar, Lee Thomson and Carey Lander. Camera Obscura began in the decade of the 90s, more specifically in 1996, having then as soul founders and members Tracyanne Campbell and Gavin Dunbar, who edited in 1998 their first work entitled “Park And Ride”. It is from this moment on that something alters and makes a whole generation fall in love. Introspective, sweet and soft are adjectives fully appropriate to the verses, accompanied by authentical musical dreams of indie pop, that make sigh anyone who’s

passionate for the genre. The big trump of this group is without a doubt the melancholic but comforting voice of their vocalist. In fact, even the saddest song can warm our soul when it is sang by the beautiful voice of Tracyanne... Already used to their unforgettable works for over a decade, we may find their most recent album “My Maudlin Career” filled with powerful musics. Themes like “French Navy”, “James” and “The Sweetest Thing”, are included in this work on which the words touched by the emotion of the voice encarnate feelings that conquer and warm even the most cold and distant moment, replacing it with a sensation of well-being and care, that we can only attain through the fantastic musical opus of Camera Obscura. To hear them may be, without a doubt, the best way to understand the work of this wonderful factory of sounds, and of dreams. Once again we find something truly special that shows us that good music still exists, is in good health and is recommended!




FRANZ FERRIZ on the limits of imagination by André Lages and André Abrantes


Fran Ferriz is a well known graphic designer, industrial designer, illustrator and 3D artist from Spain. Having already worked for companies like Coca-Cola and Disney. His creativity has no borders and his work is worldly known. Let’s get to know Fran Ferriz a bit better. THow did you end up designing 2d and 3d characters? Did you have any formation in this area? I studied industrial design and graphic design. My love for the character design began in my childhood and adolescence, when I drew comics and made drawings of my favorite video games. Over time, my passion for the character design grew, I began designing in 3D and 2D, and now is my profession and live to create characters. Are there many opportunities in Spain for 2d and 3d development? Yes of course, there opportunities. I suppose that as in all countries. But personally I miss more interest about the design industry, especially around the character design. The 80% of my design work on the 3d and 2d characters in the past year have been made for foreign clients, like the U.S. or UK. Where do you get your inspiration from? How did it begin? The inspiration is undoubtedly the most difficult part of my job. Get a good idea is complicated. Once you have the idea, make it, may be more or less complex technically, but without inspiration, without the initial idea cannot do anything. I am inspired by everything around me, people, street, Internet... It’s not very common to see a designer who does also work in 3D, did you start in 2d graphics and then developed your interest of work in 3d graphics. How did this happen? In reality, the 3d always interested me much.

I remember seeing with much impact the film Toy Story I and think: I want to do this. At that time I was 15 and I drawing by hand, without a computer. The following year I had my first computer and the first thing I did was to install 3d Studio 4 for MS-DOS! But I wanted to know and learn as much as possible, and while I learning 3D software, also I began to draw and practice with 2d

Where do you work now? Can you reveal anything about your actual project? Currently Iâ&#x20AC;&#x2122;m working in Famosa, which is the design and manufacturing company of Spainâ&#x20AC;&#x2122;s most important toys. Here I am a product manager and designer. Under my leadership I have several lines like Chic-I Girls or Barriguitas. I also work for the videogames com-

pany Devilishgames. And finally, I work on a freelance basis in my home. Which are the tools you mostly use to design and build your characters? First and foremost: pencil and paper. And I use 3dsmax for the 3d characters, and Freehand, Illustrator and Photoshop for 2d.


software. Now one might say that 50% of my work is in 3d and 50% in 2d. In both I feel equally comfortable.

Do you have any advices for young newcomers in the 3d development? Work, work and work. With hard work, willingness to learn and eagerness to succeed, I think you can get everything.








by Alexandre Mingatos


KANDAHAR a Mohsen Makhmalbaf film →←

Written and directed in 2001 by the Iranian Mohsen Makhmalbaf, “Safar & Ghandehar”, with the original title “Kandahar”, is based on a true story altough many scenes and characters have been altered.

In “Safar & Ghandehar” we accompany a reporter named Nafas that was born in Afghanistan and later took refuge in Canada having left a sister behind. The premise of the movie begins with a letter that Nafas receives from her sister warning her that she is going to commit suicide during the last eclipse of the XXst century. Nafas goes then back to Afghanistan where she joins a caravan of refugees that try to get back to the country for the most various reasons. If at first sight the argument of this movie seems typical from Hollywood, with lots of action, adventure and a happy ending… it is not. The images of the burkas that appear throughout the movie are dehumanized but we immediately are reminded that there are women underneath them when we seem them painting their nails and taking make up and little mirrors to the inside of the isolating cage that is the burka, in a sad attempt to feel more of a woman. The main character finds through her voyage a series of situations of misery, insensitivity and opportunism. In this film we see situations like a mother begging the talibans not to kick her son out of the school where they teach the Koran with iron fist for this shall be his only opportunity to escape the hunger and misery that involves the rest of the country. The women behind the burk have no rights, not even the one of being seen by a doctor. They have to stay on the other side of a cloth that divides the doctor’s room where he can examine the

tongue or ears through a hole in the cloth and where a child is the intermediary of the conversation, since the doctor is not allowed to talk to the women. At the said hospital of the red cross, even the doctors feel despise for the locals since, acoording to a doctor, they try to pose as relatives of a sick person in way to get prothesis to then go out and sell them to who really needs them – suspicion that is later confirmed when one of the locals succeeds in convincing the doctors to give him the prothesis and then tries to sell it to the main character of the movie. The scene that better defines the movie is surreal: near a tent hospital of the red cross leg prothesis fall from the sky in parachutes and a group of mutilated persons run on their crutch to try to grab them. This amy seem entertaining but given the seriety of the film, the scene only gets more depressing. The soul ray of hope in this miserable world of “Kandahar” is the doctor, who after being found by the protagonist reveals himself to be an “african-american” wearing a fake beard. Not having concluded the course of medicin he has no power to practice, but he does have enough knowledge to be able to help the afhegan patients as he cans in the most altruistic way possible. “Kandahar” traces a dark profile of a country in ruins, where the victims are agressors in a world where you fight to survive the day-to-day. This is not a movie with a message of hope. Is not to those who seek relaxed ou fun moments but to those who want to explore the frontiers of the human reality and of the human life and survival.



HUGO DE ALMEIDA machinima and the liberty by José Carlos Pereira


Hugo de Almeida aka Halden Beaumont became known as the first Machinima film director in the world. Using virtual worlds, namely Second Life, he creates cultural and educational projects, domuentaries, movies, dreams. We went to find out a little more about the man behind the machine. First of all, I’d like you to introduce yourself to our readers. In short, a bit about you as Hugo the person and as Hugo the a professional and artist. There are things that can not be separated, at least as a creative and artist. Everything in your life, everything you feel, absorb and learn throughout your life will influence your creative side. I’s impossible to create without a life ... and in my case, as a human being who needs to create to feel alive, the inverse of expression also applies. If we wanted to break down the Hugo, as who separates components of DNA, I would say that the personal prism I’m a calm person, sociable and very observant, demanding to what regards honesty and straightforwardness. At the professional level the basic requirements listed above shall


remain with the “add on” to be focused on the production side and in communication. I am also a student, I never stopped being, every day I study intensively new things in my professional area. It is the basis for progress ... If you could identify a “click” in your professional life to set your dive into the virtual world and multimedia, what would that be? Throughout life there are moments when you feel that something is strangely familiar, as if it was a part of you. I would not say “click”, but flashes, as if for seconds you could see beyond the moment and give you access to how would your “universe” be in case you follow that path. There were several in my life, the first was at 14 when my mom put me in guitar lessons and discovered how much the art world fascinated me. But charm is not something that will sustain anything in the long term, but when the fascination becomes something that feeds you, the “hunger” to create returns like a “haunt”, and it was something very similar that happened to me. I abandoned everything that bound me into a creative side after 20 ye-

Which doors did “Machinima” open to you, that could be open to our interested readers? What is the relationship with the “Second Life”? First and foremost I should explain what machinima is. The machinima is the art of film in 3D virtual environments in real time. Traditional techniques of audiovisual production adapted to a virtual environment. It is a very recent art, but regarded by many as one of the emerging arts with more potential in the 21st Century. The Web is redefining the art of machinima


ars because of the college where I was attending a degree in public administration, and that art world for me simply ceased to exist, but such “haunt” took place at around the age of 25 years old, where the lack in the creative side began to affect Hugo “person”. It was when I had the second “flash” which connected me to the audiovisual world when I decided to direct “Academia de Submissos”, an amateur documentary, not for commercial purposes, and the fruit of an academic work that was made using only a small handycam priced 300 euros. 70 hours of footage were captured, and all its production was a process of continuous monitoring for 2 ½ months of the academic praxis in a higher education institution. The third flash was the one which connected me to virtual worlds. It happened when I decided to direct my first machinima after having implemented a small project in a virtual environment. When I did it and absorbed its impact, I felt that everything else was a road, were the pieces to a puzzle that began to take shape, the music was the best foundation I could have as an artist, because it taught me to visualize worlds through melodies and sounds, to feel emotions without painting them on a screen. The documentary film gave me discipline, patience, taught me to absorb the gestures, simple moments and feel that the simplest things can be those that are more emotionally intense. Virtual worlds and machinima freed me from any tie to the real world could impose, in terms of creative freedom, is something unique where you can create anything you want where your imagination is the limit. These three pieces of the puzzle were essential for my “art education”.

along with online virtual worlds. Increasingly, the big motto of 3D virtual worlds is to give its residents the freedom to create, those are reality simulators but also spaces for artistic expression are not limited by natural laws, and are structures that are enriched with tools for real-time communication, which gives rise to a whole new aspect, the possibility of global collaborative work remotely. I know that the term “global collaborative work via the Internet for audiovisual content” seems ridiculous, but it’s not presently. Virtual worlds are beginning to be the largest directories of scenarios and expression of human imagination ever seen, second life is probably the biggest virtual “studio” ever created by humanity, whole continents, dozens of thousands of islands, and a network of artists who use this space to create and express themselves at the same time. In another complement area, machinima is an art that can not live without the traditional techniques of audiovisual production, but needs virtual worlds to survive, the merger of the two raises the potential of art in several areas as real productions simulation spaces for film and audiovisual students, the possibility of creating exclusive productions, while the use of the global community to promote an event, brand or film. A production of machinima using 3d virtual worlds online, is not something that depletes an audiovisual product, but can be used for many other promotional purposes and to interact with a target-public. On the other hand, I know by your curriculum that you work and communicate with people constantly, whether or not the professional part, from


MULTIMEDIA all over the world. What barriers can you destroy the tools you possess? The main barrier that is destroyed is the geographical, the ability to do projects with people from around the world without leaving home, projects that would otherwise be required voluminous budgets to become reality. I think another barrier is not destroyed but is much more easily absorbed, the cultural. Working in online 3d virtual environments with people all over the world is a unique cultural “melting pot”. It’s you to have access to different ways of thinking, seeing and feeling “worlds” with different eyes. In virtual environment you are not limited to observe the masterpieces, you enter into them. It’s like having a picture of “Monet” and empowered to enter into it, experience it inside, absorbing the details that the bi-dimensionality does not allow you. So you do believe that you are in the right personal and professional path? What advices would you like to share with our readers who could be following your footsteps or part of them? The right way is one that makes you smile and


completes you, without it you are nothing. Someone said in an article that advices are a form of recycled nostalgia for a greater good, and should not be heard. But I can give clues that happened to me, like living passionately everything you do. It is very important to enjoy what you do, do not be afraid to fight for what you want and like. I learned that the hard way, when I clearly knew I was on a public administration course that was not my world. But the fear of dedicating my life to something that was not my passion, made me change at the most unlikely time of my life, and have the discipline to be able to change the course of it. The second clue is don’t be afraid to take risks. The majority of the projects I have elaborated began with a simple email. One idea that in theory sounded “crazy” and an e-mail. Communicating is one of the basic elements of human beings, and sometimes we completely forget to do so. Someone once said ... “It’s not what you say but how you say it. It is not the language you use, but the tone you use to communicate. “. There is no success without passion, whatever the level is.

by Margarida Lourenço


Born in Iowa, Illinois, Bill Bryson is a traveler and the well known writer of some of the best seller traveling books in the world. He lives in England and has the gift of satirizing his voyages and surprising the readers with a more witty side, speaking simultaneously of serious business. “Neither Here, Nor There” tells us about a journey the author took in 1990 though the most charismatic cities of Europe, when it was still verified a retardation from the east to the center. In this book, Bryson tries to follow the footsteps of a journey he’s made 20 years before with a school colleague called Stephen Katz, a young man who was willing to live his youth the most radical way possible. Bryson recognized that the trip with his friend had been a mistake since he had to pt up with all his craziness and reveries, despite it being, up to a certain point, fun. So, twenty years later, Bill Bryson decides to repeat the steps through the Europe he’d only vaguely known. The journey begins in Hammerfest, in Norway. The author intends to see the Aurora Polar, therefore beginning his trip with the cold from the North. He describes the


NEITHER HERE NOR THERE a Bill Bryson novel use of public transportation up there, the socialization with the people in town and how i tis like to be lodged in the middle of nowhere. After this, he adventures through the Europe of Paris, Florence, Copenhagen and even the little Lichtenstein. He faces crazy taxi drivers, gipsy robberies and even rude hotel employees. The route ends in Istanbul, at the opposite side of the Old Continent. The fact that he doesn’t know any language besides English makes the story gain a most adventurous character. His fluid and relaxed style of describing moments can lead the readers to laugh out loud, no matter what the situation may be. Despite having seen only a small part of each country, Bryson can go from a smaller to a wider scale without any effort. Talking about a person in a bar, for example, he can describe all the habits of the people she represents in a concise and effective way. This piece cannot be mistaken for a tour guide but it does fit well in the Voyages category. In fact, Bryson can transmit all the environment of a trip to Europe and inspires the reader to find out for himself the places in question.





PIN UP the eternal sensual by Ana Rita Mendes


Who doesn’t know what is a pin up or doesn’t recognize this style when facing an irreverent picture of Dita Von Teese? Sitting in a bit on everywhere between the crazy 20s and the decade of the 80s, the best references of this style are between 1930 ans 1950 when, exhulted by Betty Grable, Greta Garbo, Marylin Monroe or even the Betty Boop doll, this attained its maximum exponent. Meanwhile, its’ history can remount to 1800, when photographs of actresses and singer considered sex-symbols appeared in postcards, magazines, newspaper and chromo-litographies in bold and provocative poses. As a fashion style up until today, the elements that compose the pin up are, usually, presented in a feminin, romantic and borderline erotic style, that fit precisely between the border of the sensual and the fetichist, confering to those who wear it an ideia of exhuberant and self-confident character. The pin up is, in the words of the famous stylist Bandarra “sexy without being vulgar, it doesn’t have the neurosis of the thin aesthetic and doesn’t need to show everything to mess around with the imagination of men”. The women that assume this style are usually girl between 20 and 35 years old, fans of 50s rock, that withstand their position though the use and abuse of skirts, dresses, bikinis, corsets and tight suits with rounded edges. Because it is an unique style and not a tendency, pin up is a style tht will never “go out of fashion”, setting forever a position at the wardrope of many young ladies throughout the world insired byt this glamorous image of the “queen of curves”.



MIRO SOARES cartographys





→← by Diana Aleixo

Dubai, located throughout the south cost of the Persic Golf in the Arabic Peninsula, is the most populated city of the United Arab Emirates and the more important of the Emirate with the same name.

On a region where the main economical source was, for a long time, oil, arises a futuristic garden mainly destined to tourism. The opulence of a landscape planning worthy of the “million and one nights” send up immediatly to ideas of technologic fiction where we are wrapped in architectonic projects of great magnitude. Dubai crosses over all the borders of the imaginary, especially with buildings such as the already known Hotel Burj Al Arab, The Dynamic Tower, Burj Khalifa (the highest building in the world with 828m of height) and the O-14, or constructions like Palm Islands (Palm Jebel Ali, Palm Jumeirah, Palm Deira), The World or Dubai Marina (residential neghbourhood where is also situated the second largest artificial marina in the world). In the city and between the futuristic urbanizations and artificial islands that constitute Dubai, the regular mean of transportation is the taxi in land and the “abras” in the water, small wooden and glass boats where the tourist is comfortably accomo-


DUBAI overseas paradise dated, includingly with air conditioning. At this city in development you can also find projects of amazing wonders still under construction such as The Pad (started construction on 2008), Museum of Middle Eastern Modern Art (expected to be concluded by 2011), The Sixth Crossing (expected by 2012), Iris Bay, (finished this year), Nakheel Harbour & Tower (will begin construction only on 2018), Signature Towers, The Opus, Dubai City Tower, Dubai Opera House, Waterfront City, One Dubai, One Park Avenue, Park Gate and, last but not least, Meraas Tower. The DXB, Dubai International Airport, one of the most movimented in the world, will be enlarged in the perspective of increasing the tourism in a near future, being then with a total area of 140km2. To know, in a place in the world where there is enough money to bath in and, sending us again to a ficcional universe, the workers of the sumptuous wonders (contruction and services) is, on it’s biggest cut, foreign. Emigrants coming from all over the world but mostly from India and Paquistan, that live in poor neighbourhoods in the suburbs in decadent conditions, away from the astonished gaze of the tourists.



SCRAPBOOKING the art of cut and paste by Marcos Soares


The creation of a scrapbook can serve as a way to identify or recall phases of life, travel countries or even the people’s personality. Even if there is a demarcated border between items in the scrapbook, the union of the visual elements is an important factor in creating a good piece of art. Sketch the design of the scrapbook. Choose a theme and make 10 to 20 drafts of the layout of the book. Then, set the measures you want the scrapbook to have. Afterwards, decide whether the work will be done digitally or manually. Digitally attract more people and will be easier to share while the manual scrapbook

will likely have more personal value and will be difficult to reproduce. With a pencil or on the computer, carefully replicate the chosen design for the scrapbook. You must also decide the kind and amount of text that might contain the scrapbook. Then, begin to organize the elements of the scrapbook and to decide the colors, as well as the contrasts of the colors will create the scrapbook. A good harmony between colors is vital for a good visual effect. The final step is to finish the piece with the details and final effects. Here you should try to correct misspellings and possible problems in the images. Finally, just start to use it either as daily chart or record an event, date or special time of your life. A custom scrapbook can create a more pleasant memory of the trips of their lives and play an interesting role in which their emotions are intertwined with information and expose the scrapbook.



#5 issue of artaffair magazine