DONTPOSTME (english version)

dоnt p Ost me ENGLISH VERSION

A MAGAZINE

ABOUT CONTEMPORARY ART

ANDREW SALGADO / ALEX KONAHIN / SOPHIA MIROEDOVA / CALLY WHITHAM / FABIAN OEFNER / OLEG BOOTKOVSKY / JAKUB POLOMSKI /

“There is nothing new in art except talent.”

A.Chekhov

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dĐžnt p Ost me

WE OFFER SPECIAL THANKS TO:

14 24 36 46 54 66 76

CALLY WHITHAM FABIAN OEFNER

JAKUB POLOMSKI

OLEG BOOTKOVSKY ALEX KONAHIN ANDREW SALGADO

SOPHIA MIROEDOVA

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WE ARE GLAD TO INTRODUCE YOU THE FIRST ENGLISH-LANGUAGE ISSUE OF A MONTHLY ART-MAGAZINE ABOUT THE LATEST TRENDS OF CONTEMPORARY ART “DONTPOSTME”, PREVIOUSLY PUBLISHED ONLY IN RUSSIAN LANGUAGE.

PROLOGUE

IN THIS ISSUE YOU CAN READ AN INTERVIEW WITH ONE OF TODAY'S MOST TALANTED ILLUSTRATORS ALEX KOHANIN, TO EXPERIENCE THE BEAUTY OF OLEG BOOTKOVSKY'S PHOTO WORKS, LEARN ABOUT AMAZING PAINTING OF ANDREW SALGADO AND GET AQUAINTED WITH EXCITING PHOTOS OF POLISH PHOTOGRAPHER JAKUB POLOMSKI.

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ENGLISH EDITION

DONTPOSTME IS A MONTHLY ART-MAGAZINE ABOUT THE LATEST TRENDS OF CONTEMPORARY ART. A MAGAZINE HAS PUBLISHED ON RUSSIAN & ENGLISH WITHIN "ISSUU.COM" SITE. EVERY MONTH THE EDITORS HAS ACQUAINTED READERS WITH PHOTOGRAPHERS, PAINTERS AND ANOTHER KEY FIGURES OF CONTEMPORARY ART FROM OVER THE WORLD. EDITORS - IN - CHIEF : AZAMAT AKHMADBAEV & ZULYA KUMUKOVA EDITOR (ENGLISH VERSION) : ALIMA KUMUKOVA ON A COVER: ITS NOT ABOUT LOVE (ANDREW SALGADO) OIL ON CANVAS - 140X120CM NO PART OF THIS MAGAZINE CAN BE USED WITHOUT PRIOR WRITTEN PERMISSION OF “DONTPOSTME” ANY CONTENT OF THIS PUBLICATION (ILLUSTRATIONS, PHOTOS & OTHER TYPES OF MATERIALS) COPYRIGHTED BY RESPECTIVE OWNERS PUBLISHED: 15 NOVEMBER 2012 VK.COM/DONTPOSTME

ISSUU.COM/DONTPOSTME

DONTPOSTME.TUMBLR.COM ST.PETERSBURG

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tog photog photog photog photog photog

gra graphy graphy graphy graphy graphy

interview

C ALLY W HITHAM

Cally Whitham is more than just a professional photographer – she’s a real artist.

Born in a lovely country of New Zeland, Cally has elevated the beauty of these lands to the rank of the absolute: even the most common sides of rural life are represented in her photographs with the touch of romanticism. http://www.cally.co.nz/

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(CALLY WHITHAM) COUNTRYSIDE LIFE PHOTOGRAPHY

DPM: Cally, what do you want to achieve in photography and what are the main goals of your projects?

Cally: Recent milestones have been approaches from galleries and magazines across Europe to sell and show my work. I was particuCally: My goal is larly honored to be always to study the published in the recent depths rather than the issue of “Zoom� magasurfaces of things, to zine together with some find something out of of what I consider to be seemingly nothing and DPM: Could you please the best and most into appreciate and make name the most impor- teresting animal photant milestones of your tographers in the world. something of the simjob? plest things.

What I hope to achieve is work that creates new perceptions about things that are no longer valued and pleasure for the viewer in recognizing a value in something familiar that has gone unrecognized.

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«YOU

HAVE TO

THINK QUICKLY, THERE IS NO RESHOOTING

AND YOU HAVE TO BE

CONSTATLY ALERT TO

OPPORTUNITIES»

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DPM: And talking about your photo projects, how do you create them? Do you just shot the landscapes while travelling or do you travel to some places with the purpose of making photos?

My landscapes are usually shot on the go when we travel, from the car window. Nobody likes to stop endlessly to indulge me so I shoot what I can get as we drive. It's actually a great discipline as you Cally: For my bird only get the one chance, images I travel to breed- you have to think ers, bird parks, zoos and quickly, there is no local farmers’ properreshooting and you have ties. to be constantly alert to opportunities.

DPM: And the last question is about your plans on future: are you looking forward to visiting Russia?

Cally: I would love to visit Russia. I have no plans to so far, but if the opportunity came up I would love to visit. So much I would love to photograph.

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interview

FABIAN O EFNER Fabian Oefner is a professional photographer, working in a field of advertising photography and photojournalism. He lives nearby Zurich in Switzerland and owns an independent photo studio.

We were fascinated with the series of Fabian’s photographs, called ‘Millefiori’, weird from the first sight, but in fact amazing and worth seeing. http://www.fabianoefner.com/

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(FABIAN OEFNER: MILLEFIORI AND...)

DPM: To start with, Fabian, what do you express through your photography and what are the main goals of your projects? What are you trying to achieve in your works?

Fabian: Most of my work has to do with bringing science and art together. I often use natural phenomena that appear in our daily lives, being it sound waves that I used in "Dancing Colors" or iridescence, which is responsible for the stunning colors in soap bubbles. What I am trying to achieve is to show these phenomena in an unseen and poetic way and therefore make the viewer pause for a moment and appreciate the magic that constantly surrounds us.

DPM: Could you please name the most important milestones of your job (f.e. exhibitions, galleries and etc.)?

Fabian:I have been fortunate enough to publish my work in renowned magazines and websites all over the world, from Australia, Taiwan, Russia, the UK, USA to Brazil and Mexico, including The New Scientist, Esquire, BBC or the Huffington Post.

Currently I am preparing an Exhibition, which will take place in Rio de Janeiro, beginning of next year and hopefully some mores will follow in different parts of the world later in the year.

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DPM: And could you ex- ing material to work with. plain how you create So I started to exyour photo projects? periment with it, finding Fabian: Whenever I out its properties and bestart working with a new havior under certain cirmaterial or exploring a cumstances. After a scientific phenomenon, I while I started mixing it don’t know, how the final with different materials, output will look like. At one of them watercolors the beginning, I just ex- and all of a sudden, these periment with it. After a peculiar channel-like bit of time, I come across structures appeared. something that I think, could be developed furNow I had these ther into a series of im- amazing looking strucages.

That’s what tures but no way to caphappened with the fer- ture them on camera, rofluids project. I read since they are very tiny, about the liquid quite a only the size of a thumbwhile ago and thought, nail. That’s why I had to this might be an interest- build a setup with an old

enlarging lens mounted onto bellows, which gave me a magnification of around factor 5.

The second challenge was lighting the few drops of liquid, but I finally came up with the idea of using a ping pong ball as a diffusor, which produced a nice, neutral light.

So, the final outcome is a result between using a common scientific phenomenon, magnetism, in a poetic way and the right technique to make it visible to the viewer.

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«...TO

SHOW THESE

PHENOMENA IN AN

UNSEEN AND POETIC WAY AND

THEREFORE MAKE

THE VIEWER PAUSE

FOR A MOMENT AND APPRECIATE THE MAGIC THAT

CONSTANTLY

SURROUNDS US»

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DPM: Our next questions touch your personal attitude to contemporary art.

Is there anything that attracts and maybe inspires you in contemporary art? And what is it, if yes?

Fabian: Of course, contemporary art is a term of wide comprehension. There are many aspects in it that inspire me from all different forms of art, being it sculptors like Anish Kapoor, installation artists like Olafur Eliasson or photographers like Andrew Zuckerman. What inspires me with those is artists is, beside their beautiful results, the process of work, how they handle a project.

With the broad availability of the internet, the community of artists has grown rapidly and I think today it is easier than ever, to exchange thoughts and visions with others because it even gives not so well known artists, but who also have a great talent, a platform to show their work and getting known to a larger audience.

DPM: And the last question is about your plans on future: are you looking forward to visiting Russia?

Fabian: I really do. The other day I watched National Geographic`s "Wild Russia" which shows absolutely breath-taking sceneries taken form all different parts of Russia.

Hopefully one day I can see some of these sceneries with my own eyes...

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inteview

J AKUB

P OLOMSKI Jakub Polomski is a polish photographer living in the city of Ceiszun.

According to his own words, the photography has started interesting him only when he was twenty years old. Jakub’s stunning photo works helped him to gain acceptance from the audience and to become one of the most famous photographers of modern Poland. www.polomski.art.pl

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(JAKUB POLOMSKI) NATURE PHOTOGRAPHY

DPM:To start with, Jakub, how did you become a photographer? And talking about the equipment, what types of camera do you use?

terested in photography.

My adventure with photography has started by capturing landscapes.

However I don’t want to be limited in one area of photography, that is why I Jakub: Seven years also try photojournalism, ago I saw some pictures in street and sport photogan issue of National Geo- raphy. I have never had graphic Magazine. They any "formal" training. I inspired me. I borrowed a also didn't learn photogracamera from my friend phy in any school. I was and I have started my uploading my photos onto own adventure with this many photo portals and I field of art. Never before was reading feedback to had I had my own camera, them. These constructive because I hadn't been in- critiques helped me to im-

prove my skills. I use DSLR cameras of Canon brand.

DPM: What do you want to achieve in photography and what are the main goals of your projects?

Jakub: I have not any strict goal to achieve in a field of photography. I don't want to have one, because if someone achieves desired aim, he often stops his progress. I just want to still improve my skills.

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«I

DON’T WANT

TO BE LIMITED

IN ONE AREA OF

PHOTOGRAPHY...

...WHEN

I TAKE

PHOTOGRAPHS

I ALWAYS THINK ABOUT FINAL EFFECT»

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DPM: Could you please name the Jakub: The most important for most important milestones of your job me is to catch the best composition (f.e. exhibitions, galleries and etc.)? of the scene. I also search for something which can give the viewer concept of scale. I often use ND Jakub:There are two milestones graduated filter mounted on my lens in my adventure with photography in order to compensate light sky with are: • National Geographic Poland stat- dark ground. I always take pictures in uette gained for the first place in cat- RAW mainly because I can choose appropriate white balance (which is egory “Polish Landscape” (2010) very important for me) in further • “Traveler Adventure Team Discover Patagonia with Kinder Country” computer processing. When I take photographs I always think about final – Main Prize - journey to Patagonia effect. For example I often know (2011) which photo will be presented in DPM: And could you explain how you monochrome and which should be colorful in order to produce appropriate create your photo projects? Where emotions. do you usually photograph?

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DPM: Is there anything that attracts and maybe inspires you in contemporary art?

What is it, if yes?

Jakub: I am interested in contemporary art, especially in its digital forms; however I don't get inspiration from it. By my photographs I like to show my vision of nature rather than nature of my vision :)

DPM: What's your opinion about the contemporary art? Could you define a place for photography in art?

Jakub: Contemporary art today spreads in many different directions and the same is with photography. Billions of photos are captured daily and it creates some kind of competition in this field. Photographs have to be really good in order to be featured from all the others.

DPM: And the last question is about your plans on future: are you looking forward to visiting Russia?

.

Jakub: If there will be such possibility, then of course I would love to visit Russia, especially to travel by Trans-Siberian Railway. In the nearest future I also want to visit Nepal and Island*. *”Island Peak” or “Imja Tse” is a mountain in the Himalayas of eastern Nepal - DPM.

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interview

O LEG

B OOTKOVSKY

Oleg is a young photographer from St. Petersburg. In spite of his age he has already got a great amount of splendid photographs in his portfolio, which testifies to his unschooled talent. http://bootkovsky.tumblr.com/

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(OLEG BOOTKOVSKY) NATURAL BEAUTY My photographs are DPM: Oleg, could you please tell us, how did not aimed at anything, you start photographing? for I’m just showing my vision of the world. I Oleg: I started pho- don’t give any evaluation tographing when I stud- to the situation, as the ied at school. I simply reportage photography took pictures of my does, and I’m not trying friends and then exhib- to make an accent on ited them in a local some skill techniques eigallery.

Honestly, I ther, as it happens with hadn’t had any good studio photography. equipment until I moved The idea of my to St. Petersburg and bought my first photo works is that everything camera. Then I began to in this world has its own beauty and what I’m work with new people. doing is that I’m showing DPM: What would you my vision of this beauty. like to achieve in the art of photography and what DPM: How do you create are the main goals of your photo works? What your works? What mes- inspires you the most? sage are you trying to convey to the audience?

Oleg: Music helps me to concentrate beOleg: First of all, I’d fore shooting. What for very much like to create the sources of the inspimy own style as a pho- ration, they can be diftographer, so that the ferent: an exciting plot people would recognize of the book that I’m my works from the first reading, a passer-by on sight. What else can an the street, which attracts artist wish for? my attention, or just a

gloomy day.

The only thing you need to do is to feel the flows of inspiration and to find forces to carry them out.

DPM: Could you please name the most important milestones in the course of your job as a photographer (f.e., publications in magazines, exhibitions, etc.)?

Oleg: I guess all the important milestones are yet to come.

DPM: And the last question I’m going to ask you touches your attitude to the contemporary art: what does this term mean to you?

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Oleg: I think, contemporary art is just the same thing as art in general, only spoiled with time.

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CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO CONTEMPO

ORARY ORARY ORARY ORARY ORARY ORARY ORARY ORARY ORARY ORARY

ART ART ART ART ART ART ART ART ART ART

interview

A LEX

K ONAHIN Despite the fact that Alex Konahin is a

young illustrator from Latvia, his works have already become familiar to quite a

large amount of people. Moreover, he’s con-

sidered to be one of the most famous design-

ers of the post-soviet space, according to the behance.com web site.

http://www.behance.net/konahin

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(ALEX KONAHIN) ART

DPM: How did you become an illustrator? When did you start drawing?

exhibit my works in the Internet on some international web sites. And, finally, I was noticed, and peoAlex: I had had a ple began to contact job connected with me, making more and freight transporta- more orders. tions, and when I quit it I decided never to DPM: Alex, what serve under one’s would you like to leadership again. In achieve in the art and spite of not having an what would you like art education, I had to convey to the audialready had an expe- ence? rience of working independently as an Alex: I’d like to illustrator, carrying convey to the people out the orders from that the time has the engineering come to change graphics to portraits. something in fine arts, as they have reached Soon I started to their impasse. I’m for

the new Renaissance, where beauty comes along with the idea, and I’d like to try my best to make this Renaissance come.

DPM: How would you characterize the illustration techniques that you use in your works?

Alex: I don’t create anything new. I just use the techniques of the old masters, but in a new way. They are not fully formed yet, so it’s difficult for me to be more specific about it.

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DPM: Do you feel that you’ve become a famous illustrator?

Alex: Certainly, I do. But being famous for me is just a tool for achieving my goals, so I don’t lose my mind and treat it calmly.

DPM: Can you name the most important milestones in the course of your work as an illustrator (f.e., exhibitions or publications in magazines)?

hard within three years.

No exhibitions or publications have influenced my career. For all my achievements I’m grateful only to the Internet.

DPM: What does the notion of contemporary art mean to you?

ture, are you looking forward to visiting it?

Alex: The last time I’ve been to Russia was about three years ago, and I’m not planning to go there in the foreseeable future, even though I used to visit it quite often.

Alex: Contemporary I live in Latvia for art is everything that’s being created and that’s now, but I’m not officialready been created by ally a citizen of this country. My parents deour contemporaries. cided to move here in DPM: Now you live 80s from Kuban, where I in Latvia and how often was born.

Alex: I’ve been try- do you go to Russia and, ing my best and working as for your plans on fu-

.

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interview

ANDREW SALGADO Andrew Salgado lives and works in London.

As any professional artist, he has got his

own studio, where he creates serie paint-

ings, which are usually self-portraits, portraits of his friends or complete strangers.

Andrew is most famous for his aggressive,

textured brush strokes. His paintings have

hung in a large amount of galleries all over the world – from London to a small South Korean city of Buzan.

http://www.andrewsalgado.com/

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(ANDREW SALGADO) ART DPM: To start with, what do paint? you want to achieve in art industry and what are the main Andrew: I was always goals of your projects? into art. When I was younger I was more of a 'drawer' but Andrew: My goals, obvi- as I became more serious ously, are to be successful at about my artwork I focused what I do and to gain a repu- on it in university and began tation based on the quality to paint more and more. and integrity of my art. I Eventually at 24 I quit all my would like my work to be crit- other part-time jobs and foically accepted, artistically cused exclusively on painting. respected, and simply en- I've never regretted that dejoyed by those that view it. cision.

The main goals of my projects change from piece to DPM: Could you please piece, and also in a grander name the most important scale, from year to year. milestones of your way in art However I always aim to say industry (f.e. exhibitions in something of importance with any galleries and etc.)? each piece, with each body of work; but also for my own Andrew: Almost every purposes I have to ensure solo exhibition is a big milethat I am growing as an artist: stone; however my first big this means I continuously solo exhibition was called want my technique to im- Boys' Night Out and it was prove, and my skills to curated by (now Director of grow...I never want to feel Beers. Lambert Contempostationary and I think that my rary) Kurt Beers. Now Beers. career allows me to grow with Lambert Contemporary is each successive day. based in London and they are giving me a forthcoming solo DPM: Andrew, could you tell exhibition opening October me how did you begin to 11, called The Misanthrope.

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I'm really excited about it and I think it will be the largest show I've had to date (in terms of scale and attention). I'm also working toward exhibitions in 2013 in Ottawa and NYC, so those should be key events for my career as well.

Truthfully, every day is another step in the right direction, and I prefer to look at each day as an opportunity to improve, instead of waiting for some giant fantastical windfall of success.

Fred Tomaselli has a quote that I love that really contextualizes the nature of a steady art career; he says something along the lines of his career being one of "slow drips and long-burns". Art, like any truly successful career, is a marathon, not a sprint. I think too many young artists expect to be an overnight sensation and become disenfranchised if and when they're not. My opinion is that too much success too quickly can be the kiss of death for an emerging art career.

plain how you create your painting projects? Where do you get the inspiration?

Andrew: The technical process for my painting is always changing. I never have any sort of formula; I have a lot of false-starts and failed paintings, but that’s part of the process.

It’s part of experimenting and learning how to improve and challenging yourself in studio.

Inspiration comes from all sorts of potential sources. I think one has to be open and porous to receiving inspiration because its not always harking from some 'divine source'. Sometimes its subtle, causal. I don't believe that I, personally, as an individual, have enough profound events in my life to be a constant source of inspiration so I have to be open to these external sources if and when they present themselves. I am a storyteller, because I've already said a lot about myself in my work, now I'm telling stories from new perDPM: And could you ex- spectives.

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«ART, LIKE ANY TRULY SUCCESSFUL CAREER, IS A MARATHON, NOT A SPRINT»

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DPM: Our next questions touch your personal attitude to contemporary art.Is there anything that attracts and maybe inspires you in contemporary art? what is it, if yes?

Andrew: Of course, I love painting in all its forms, and all of its glory.

I love to look at painting and be knowledgeable about contemporary painters. I think its hugely important to remain knowledgeable about those working within your same context, and to know about the history and theory of the practice. However I do find myself more drawn to purely abstract art, but that’s only probably because 'opposites attract' and its so this is something that compels me because its different from my own practice.

I am hugely drawn to sculpture as well. Unlike

painting, which I understand and comprehend, and so its 'magic' is demystified in favour of a scientific approach to looking and considering work and technique, but with sculpture, I don't understand the process, the techniques and this type of vocabulary is a mystery to me, so I am in awe looking at sculptural work. I like being swept up in the fantasy of art and its creation.

funding, and the events like Ai Wei Wei and Pussy Riot are atrocious, but historically speaking it has been these individuals and groups that have risked their own sense of self for the greater that other artists benefit. It sounds like the ultimate humanitarianistic cliche, but they call attention to what the little ones are trying to do, and I applaud them for it, even if I myself might not ever be so bold, it trickles DPM:What's your opinion down to the quieter about the radical forms of spaces. expressing art in Russia, provided by different art- DPM: And last question : groups (f.e. Pussy Riot, are looking forward to Art-vojna and etc., if visiting Russia? you’ve heard of them)?

Andrew: I've been Andrew: I think any- flirting with the idea of time art really becomes visiting Russia for AGES! radical and draws political My grandmother was and or societal attention, from Ufa, and I've had St. this can only benefit the Petersburg on my list for arts as a whole. It’s a years....just never had a shame that art continu- chance yet! ously becomes ostracized throughout government

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interview

SOPHIA

MIROEDOVA

Sophia is an illustrator from St. Petersburg, whose magnificent works have already been placed in a great amount of magazines: starting from a purely masculine Men's Health and ending with an acute political ÂŤSnobÂť. http://miroedova.com

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(SOPHIA MIROEDOVA) ROMANCE IN THE ARTWORKS

DPM: Sophia, what was the impulse for you to start drawing? How did you become an illustrator?

Sophia: I guess it has all started with a desire to see things that we can’t see in reality.

It’s just like a superpower that helps you to create images that are born in your dreams and your fantasy. It’s a sort of magic, and magic has a special value in childhood. It’s a secret that still remains a mystery for everyone.

DPM: What would you like to achieve in the art and what are the main goals of your works?

What would you like to speak it. convey to the audience?

DPM: How do you Sophia: As an illus- create your works?

What inspires you the trator, I always try to fulfill the order that I’m most? given, as it’s my profesSophia: I create my sional objective. As an paintings in different artist I’m just trying to share those images that ways using different techniques. As for the appear in my mind in graphics, I can use eisome moments of life. ther calligraphy brush or Actually, I don’t congraphic tablet stylus; sider myself as an but painting is always ‘artist’ in the convenmanual. tional sense of this word, because I don’t The thing that input any obscure or recondite message into my spires me the most is the endlessness of works. My ideas are every moment. There pretty obvious and rather frank. Visual lan- are also such sources of guage is an international inspiration, as music, of language, and it’s quite course, and people, escomprehensible. I like to pecially men.

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«VISUAL LANGUAGE IS AN INTERNATIONAL LANGUAGE, AND IT’S QUITE COMPREHENSIBLE. I LIKE TO SPEAK IT»

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DPM: What are the most important milestones of the course of your work as an illustrator (f.e. some exhibitions, publications in magazines, etc.)?

Sophia: Talking about my work as an illustrator, the first and the most important step was designing of a cover for the music album ‘The Grand Astoria’ for the project of a close friend of mine, Kamil Sharapodinov. It was my first serious large-scaled project and I still consider it to be one of my best works.

The second milestone was the publication in the ‘Snob’ magazine. The next one was my acquaintance with Pic-o-Matic agency. And the last, but not the least milestone I’d like to mention, is the opening of my art school.

Certainly, I’ve also had a lot of interesting projects, but precisely these events were the most important turning points in my career.

DPM: And the last thing I’d like to ask you is how do you understand the notion of contemporary art?

Sophia: It’s an extremely controversial notion for me. It’s hard to disagree with the obvious opinion that contemporary art is everything that’s being done by our contemporaries, but I would say that contemporary art is also the regulation of the experiments held by our predecessors in XX century. For some people it is still an attempt to reconsider the existing reality.

There’s a gallery located next to my house, and everytime I go to the shop to buy some cabbage, I’m forced to contemplate the so-called contemporary art through the windows of this gallery.

Apparently, for them it’s still Rothko and Duchamp. I can’t say exactly, what it is for me, but I think I’ll be able to do it in dozens of years.

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EPIL EPIL

EPILO EPILO

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OGUE OGUE

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