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EIN magazine

Issue #2

It’s not good enough

editorial: about the theme

“It’s not good enough” is a thief. It robs

tions. If it’s not good enough, then

can make it better, so scrap all that, or

you are not good enough. Perhaps you

like Baldessari throw it all in a furnace.

didn’t pay attention in art school, per-

Make a list of all the things that went

you do is shit, that it doesn’t compare well

haps you didn’t go to art school (may-

wrong and try not to repeat those

to the work that is out there. Maybe you

be you should). No guarantee it’ll ever

mistakes. Eventually, you will have a

be good enough. How about giving up?

piece that is good enough. Now, on to

are shit and your work is not good enough.

That’s it. Give up and try to forget (but

the next idea. You have to be rigorous

you probably won’t be able to forget).

both with your ideas and your prod-

Not good enough for whom, for what?

Oh, it’s going to bother you for a long

ucts. Look at them, turn them around

time. Good luck with that. Maybe if

in your mind or in your hand. If they

you tried again, tried a little harder,

fail you, try again. Challenge yourself

it would work. But you don’t and you

to be better than yourself from a year

won’t. It’ll never be good enough.

ago, a week ago, a minute ago. You are

you of confidence. It tells you that what

There is a standard out there. There are many standards out there. The gallery, the museum, the fair, the magazine, the website, the white space above a

“It’s not good enough” is a kick in the

sofa; all have their obvious and not so

ass. Just the push you need to start

obvious rules and standards. So, your

again, to re-double your efforts. You

work doesn’t fulfill them, it falls short.

had an idea, seemed like a good one

It’s sad that you still try. Maybe cut an

at the time. Then you realized that it

ear off, or nail your dick to a piece of

wasn’t (perhaps you saw something

wood, pull your art out of your vagina

similar), it’s been done before. So

or asshole. Maybe then someone will

what? What do you do with that infor-

see it and tell you it’s been done be-

mation? Let it paralyze you make you

fore. Perhaps it won’t be good enough,

weak? Or do you push on, let it excite

but at least you’ll get noticed. How

you? You made something, looked at

about killing yourself as a work of art?

it and thought “It’s not good enough” .

Just make sure you leave clear instruc-

This is a good start. Now you know you

constantly learning and improving. If it wasn’t so, stagnation would set in, you would stall. This is not a desirable state. But you know that and press on. You have a strong enough sense of self to believe that your vision matters, that you have something to say that people should see and hear. So even if in this moment “It’s not good enough,” it definitely will be good enough in the next incarnation.

Aleks Slota, Berlin 2012

Una Stade “Freedom of Religion”

editorial: about this magazine issue

The notion of “It’s not good enough” embraces such ideas as rejection, exclusion, urge for progress, power and competition. This expression can be used in many different situations—describing the reality around or a person­al feeling or self-esteem. Certainly, it is also a common expression used in artistic practice.

The idea what is not good enough is

Therefore we found it interesting to

rejected was tackled by Agata Ponia-

put it under a magnifying glass, to see

towska (PL), Ieva Raudspeda (LV) and

what it means, what consequences

Agnese Murnice (LV). While Raudspeda

it brings and whether it is useful for

questions photographer’s choice of

creative process. We invited 16 young

images, or more precisely: why among

international photographers to create

a number of photographs only few

photographic projects on this topic

of them make it to be chosen for the

during a 3 week residency “EINlab: In-

magazine, Poniatowska and Murnice

teract!” in February–March 2012. Each

scrutinise viewers’ choices. Agnese

of them tackled the issue from a dif-

Murnice asked pedestrians to give

ferent perspective, based on their own

away an object that is not good enough

artistic vision, personal experience and

and asked them how long they had it

reflection. And this issue of EIN maga-

for. She collected the rejected mun-

zine presents the outcomes.

dane objects and then photographed them. The rejected objects obtained

Agata Poniatowska, “An Assessment”

Agnese Mūrniece, “Collection”

Ieva Raudsepa, “How long is now?”

editorial: about this magazine issue a special value again. They were not

veals arbitrariness of such judgements

rejection means frustration. As he

good enough for the owners, but were

and brings a question of taste to the

writes in his text: “it (the project) talks

good enough for the artist to include


about those feelings of suffering and

them in the project.

Katarina Socan (SI), Katarina Jazbec

disappointment which follow our inability to reach the models imposed by

This reminds of such contemporary

(SI), Agata Zubrzycka (PL) and Fran­

strategies as applied by artist Peter

cesco Cascavilla (DE) focus their

Fraser, who also focuses his atten-

attention on the emotional conse-

tion on ordinary objects, supposedly

quence of being rejected on the basis

meaningless or worthless, but the

of “not being good enough”. They ap-

fact of choosing them as a subject

proached personal states of isolation,

changes their value and brings us to

social exclusion and alienation that

reflect upon what is around us. Both

can follow a rejection. In the multime-

Murnice and Fraser remind us of the

dia project Katarina Socan constructs

shifting and relative nature of such

a spatial experience of alienation

judgements. In a similar way, Agata

through the use of different media

Poniatowska elaborates on the issue

in an installation in a bathroom. The

of rejection. But in her case, the main

private space is invaded by a loud and

focus is the impact of viewer in valu-

hostile audiovisual projection accom-

“It’s not good enough” involves also an

ing photographs. To comment on how

panied by a booklet presenting images

idea of progress—making things bet-

a viewer negotiates whether a photo

of a circus site, caged animals and

ter, which contemporary society is ori-

is good or not, during the exhibition

abandoned spaces. Similarly, feeling

ented on. Technological development,

“It’s not good enough” on 11.03.12

of exclusion is interpreted by Agata

especially, has brought artists Pawel

in Berlin she let viewers judge her

Zubrzycka who photographed urban

Starzec (PL) and Elsa Thorp (DE) to cre-

photos and put a stamp on these which

spaces that are shut down and inac-

ate their works. Starzec is fascinated

are ‘not good enough’. By making this

cessible. Is it what rejection means? A

by the digital photography phenom-

interactive project Poniatowska re-

closed door? For Francesco Cascavilla

enon and how (why) it pushes out the

society and by ourselves”. His expressionist paintings on photographs are heavily charged with emotions referring viewer to works by Francis Bacon not only aesthetically but also by means of using a thick layer of paint. In fact, at one point in Bacon’s career he painted on so-called “wrong side of the canvass”, or on paintings that were not good enough, putting a thick layer of paint and creating new powerful paintings.

Francesco Cascavilla, “Triptych of Flowers”

analogue photography. In the mean-

of good and bad through conceptu-

time, Elsa Thorp creates a photo-like

alism. Like in conceptual art Cerlac

video, which brings about a reflection

rejects the aesthetic aspect of his

on the recent phenomenon of using

photographic works, i.e. proper compo-

photo-cameras for shooting videos.

sition, and focuses on the process he is

Finally, Liga Spunde (LV) concentrates

going through, and finally the ques-

on the idea of remaking. Her old

tion whether he is good enough or not

souvenir photos have been re-photo-

doesn’t play such an important role

graphed giving them an added value

any more.

of a sparkle of light from a torch or camera built-in flash. But do old pho-

Ania Pabiś, Berlin 2012

tographs need such a pimp-up? Finally, ‘It’s not good enough’ stimulates a competition, challenging one self to achieve a goal and become “good enough”. As shown in Aljaz Cerlac (SI) project, this can be also a constructive approach. Cerlac created a game in fast picture taking. For him it became a kind of self-practice, a very disciplined and a very patient one. He gave himself plenty a possibility to become better and better, and not staying at the level of “not good enough”. He has also revealed the joyful aspect of such a competition. His project is also a reminder of how contemporary art dealt with the terms

Liga Spunde, “Bright in memory”

Aljaž Celarc, “Berlin shooting game”

Berlin shooting game— The book of mistakes (March 2012)

I am Aljaž Celarc. I come from Slovenia. I always wanted to see Berlin and it’s surrounding. As I was seeing many of Berlin’s attractions I got a little bored. Because of that I invented a game with a simple rules. I was asking tourists to take a vertical photograph of me, while I was trying to photograph the last moment, before they took a photograph. Every failed take, when tourists caught me photographing, was a lost life. I lost 6 lives. People still love to take pictures.

Aljaž Celarc

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

Aljaž Celarc, “Berlin shooting game”

How long is now? The photographs were taken during my stay in Berlin this spring. Life consists of disappearing moments, but in an unknown city time flies away even faster. Endless possibilities, but a limited number of choices made. Were they good enough?

Ieva Raudsepa

Ieva Raudsepa, “How long is now?�

Agata Poniatowska, “An Assessment”

“A n A s s e s s m e n t ” This is an interactive project consisting of postcards where everyone is invited to point out his own assessment of the photos. This task challenged me to consider what “it's not good enough” means to me. Can it be a limitation of the analog point-and-shoot camera or the outcome of giving up with post-production based on my ambition? Maybe is it imperfect street landscape? Using a special* stamp everyone is allowed to judge and mark his own opinion.

Agata Poniatowska

Agata Poniatowska, “An Assessment”

Agata Poniatowska, “An Assessment”

Agata Poniatowska, “An Assessment”

Agata Poniatowska, “an assessment�

Do you need all the stuff you carry with you?

Is it good enough for you? Are you ready to give something away? Different people in the streets of Friedrichshain, Berlin were asked to give objects for this collection. In result I obtained a display of 14 different items. The period of time for how long the person had kept this object is besides of each picture.

Agnese M큰rniece

1 year Agnese Mūrniece, “Collection”

1 day Agnese Mūrniece, “Collection”

1 year Agnese Mūrniece, “Collection”

1 year Agnese Mūrniece, “Collection”

2 minutes Agnese Mūrniece, “Collection”

2 years Agnese Mūrniece, “Collection”

1 year Agnese Mūrniece, “Collection”

3 months Agnese Mūrniece, “Collection”

4 years Agnese Mūrniece, “Collection”

5 months Agnese Mūrniece, “Collection”

8 years Agnese Mūrniece, “Collection”

10 months Agnese Mūrniece, “Collection”

15 years Agnese Mūrniece, “Collection”

20 years Agnese Mūrniece, “Collection”

Merely Aesthetic We need…to grasp both sides of the paradox of the image: that is alive—but also dead, meaningful—but also meaningless, powerful but also weak.

W J T Mitchell; What do Pictures Want

Katryn Branicka, “Merely Aesthetic”

Katryn Branicka, “Merely Aesthetic”

Katryn Branicka, “Merely Aesthetic”

“S elf-p or t r ait� My life is cut into pieces and each lives on its own. The tree is the only certain thing but I am not a tree.

Katarina Jazbec

Katarina Jazbec, “Self-portrait”

Katarina Jazbec, “Self-portrait”

Katarina Jazbec, “Self-portrait”

Katarina Jazbec, “Self-portrait”

“ T h e d e s e r t i s b e a u t i f u l ,” the little prince added. And that was true. I have always loved the desert. One sits down on a desert sand dune, sees nothing, hears nothing. Yet through the silence something throbs, and gleams...

The Little Prince, by Antoine de Saint-Exupéry

Katarina Sočan, “Lesspainless”

L E S S PA I N — I S O L AT I O N bathroom installation The installation can be installed in the bathroom of the studio. Yet, not disabling the bathroom from serving its initial purpose.

THE ENTRANCE: On the door I display the photo shown below, inviting the visitor inside, in the circus, the place of chaos and hidden isolation. (The photograph is displayed on the bathroom door, in the booklet p. 8.)

1 VIDEO PROJECTION: The video is projected onto the mirror area, so that the visitor is able to observe oneself and the projection at the same time, by doing this I hope to achieve the illusion, so that the visitor will feel as if they were present in the video. 2 SHOWER INSTALLATION: In the shower I install the lighting implying the lighting that occurs when a spacecraft is launched, accompanied by the sound of the spacecraft launch. 3 The space for the projector. 4 BOOKLET: Is positioned by the toilet paper roll.

video of installation

Katarina Sočan, “Lesspainless”

Katarina Sočan, “Lesspainless”

Katarina Sočan, “Lesspainless”, book cover and spreads

Katarina Sočan, “Lesspainless”, book spreads

Katarina Sočan, “Lesspainless”, book spreads

Katarina Sočan, “Lesspainless”, back cover

In the pictures of a city I try to find a portrait of myself. Many times the way I think or feel is disturbed or not fully visible. Being really open inside but hidden on the outside. It’s just not good enough‌

Agata Zubrzycka

Agata Zubrzycka, “Reflection”

Agata Zubrzycka, “Reflection”

Agata Zubrzycka, “Reflection”

Agata Zubrzycka, “Reflection”

Tr i p t y c h o f F l o w e r s

The theme I refer to in this triptych is feeling of frustration and self-disappointment which come from judgements which the society make about all of us. Violence that I show in this triptych is not the obvious violence of wars and deaths, but the inevitable violence of everyday life. The young protagonist is a girl-doll which seems to have (through a process of hair, makeup and dress ) lost her personality leaving space only to the pure superficiality. This transforms pictures in non-portrait portrait since what I show is not a person but a simplified idea of a person, a transparent mask through which I can represent a slice of those rainbows of emotions and instincts better known as a nervous system, or Soul. This ideal girl-doll does not represent a girl in particular but the entire humanity, she dreams and cries, vomits, suffers and then dreams again, this is a reflection (in soft and tenderly colours) of those circles of illusion and disillusion which is life.

Francesco Cascavilla


Francesco Cascavilla, “Triptych of Flowers”


Francesco Cascavilla, “Triptych of Flowers”


Francesco Cascavilla, “Triptych of Flowers”

Iconoclasm Is a concept of a soul coming from traditional methods more than a swindle? What makes you think about the technical side of photography? For 150 years photography was evolving. A constant struggle to provide more accurate, cheaper, easier and more realistic pictures, fueled by dozens of great inventions pushing the medium forward. It had created an image culture where everybody and everything is constantly photographed and memory slowly changes to a picture bank. But just after switch to digital, nearly ideal image, people decided to reject that progress and to de-idealise the images, explaining it with a concept of uniqueness and spirit of traditional photography. Is it anything more than a market slogan?

Paweł Starzec

Paweł Starzec, “Iconoclasm”

“I gaze within the fog� This is a moving image, representing ''reality'' a little more than a still photograph.

Elsa Thorp

Elsa Thorp, “I gaze within the fog”, video

Clubsterben This series, Clubsterben (eng. Club dying) is talking about the disappearance of Berliner clubs. Through the theme the artist wants to raise a discussion of gentrification in Berlin by showing the comparison of the closed club and the luxurious apartment that is going to be built. In the series she shows two famous clubs in Prenzlauer Berg, which were forced to be closed in the past years, they are Klub der Republik and Knaack.

Wei Hsu

Wei Hsu, “Klub der Republik” The Berlin that is known as “poor but sexy” or “the place to be” is now heading it’s way toward the commercialised future. The artist asks herself if it is good enough, giving up the charm Berlin used to have, and following the capital flows without thinking of the consequences.

Wei Hsu, “Knaack� This series is dedicated to the photography gallery c/o Berlin, which has to give their beautiful historic building up to a fancy hotel and a shopping mall.

Bright in memory Series of photographs made ​​searching for a link between the nostalgic warmth and ironic subjectivism about the changing nature of emotion. The newly contemplate existing images, created in minute weakness, the question arises about the truth—How it is possible that confidence in dealing with the situation absolutely magical radiance, the reality is still awkward gray portrayed?! What is truth? How does it look? Or no one can tell us how back then was? However, believing that good ones will win, and relying on my subjective reality, I swear—it was a day, full of light. Creating this series I was inspired by the stereotypical view of heart-breaking nature of light. I brought sunlight in photographs, where the only true source of light was memories of the bright moment. My ironic melancholy attitude is made more clear by fact that sunlight is staged manually by torches and camera built-in flash. That is the way how playing with the understanding and impressions of momentary happiness, this light is found missing, and immortalized in the photo again.

Liga Spunde

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

Liga Spunde, “Bright in memory”

All the work for this magazine was created during EIN LAB: INTERACT! It was an EU sponsored program within EIN that took place in February and March of 2012. 16 young and creative people from Poland, Germany, Slovenia and Latvia were invited to create individual photographic series. Through EIN LAB: TRY!, EIN LAB: SEE! and EIN LAB: DISCUSS! they developed their portfolios and gained tangible/ marketable job skills. The results were presented in an exhibition and this .pdf magazine. The exchange was about non-formal learning by doing (photo-shooting), discovering the new (developing creativity and experimenting), getting to know other cultures (discussions about photographs, best practices, cultural evenings, daily experiences) and having fun (energizers, outdoor activities, exhibitions, visiting galleries and museums). See the project blog with many more photos from EIN Lab: Interact!

TA collective TA collective was set up by two likeminded artists Ania Pabis and Aleks Slota in order to share our knowledge of art in and outside of the formal education. Our



personal creative voice in exciting and

is a laboratory for photo-shooting (out and

is the laboratory where we explore your

nurturing settings such as: workshops

indoors), image analysis, practical exercises

doubts and insecurities as an artist and try

(EINlabs), residencies (EINlab: Interact!),

(photography, drawing, crafts) and interac-

to answer the following questions. Are my

exhibitions (Transmotion) and the EIN

tive activities (discussions, brainstorming)

ideas original? What is originality? How

magazine. Our skills can be characterised

to learn how to use your technical skills in

many ideas can I come up with? What is my

by a passionate approach, creative solu-

accord with your visual competencies. We

art about? Who am I as an artist? What do I

tions, stimulating themes, professional

experiment with: light, camera, perception

do now? When stuck how do I get unstuck?

preparation and of course a sense of hu-

of depth, perception of colours, composi-

mour. Currently, we reside in Berlin, but

tion, imagination, knowledge and memory.

we are open to projects all over Europe—

This Lab is to encourage experimentation

get our newsletter to stay updated.

with visual perception and to stimulate

aim is to encourage exploration of the

creativity. You will not learn how to take a “proper” photograph, but how to use your skills and knowledge to subvert, reconstruct, imitate or fake the standard rules in search for new visual possibilities and experiences.

You’ll learn how to use pro-active solutions to address these questions. We’ll learn and use practical exercises to generate new art ideas. You’ll explore your inner creator to better understand you as an artist. You’ll leave the lab with a set of tools to be utilized when those nasty doubts, insecurities and blocks come back. You’ll learn how to train, stimulate and maintain creativity.

credits & links

The concept of EIN is based on the beta version of the magazine titled dyspnea. See EIN magazine and get the newsletter to be updated on EIN magazine, workshops, residencies and exhibitions by TA collective. Editors: Ania Pabis and Aleks Slota Layout design: Adria Chilcote Special thanks to Jan von Holleben, Julien Menand, Baiba Buceniece, Enya Mommsen, Magda Herbst, Katarina Jazbec, Julija Berkovica, Marta Szymanska, Boštjan Pucelj, Andrej Krštinc, Allegra Solitude, Adria Chilcote, Delight Rental Services and all friends of EIN for your support. The project was sponsored by European Union under the Youth in Action Program in partnership with Foundation of Visual Education from Poland, with ISSP from Latvia and Lokal Patriot from Slovenia.

Artists: Agata Poniatowska

Katarina Socan

“An assessment” (2012)

“Lesspainless” (2012)

Agata Zubrzycka

Katryn Branicka

“Reflection” (2012)

“Merely aesthetic” (2012)

Agnese Murniece

Liga Spunde

“Collection” (2012

“Bright in memory” (2012)

Aljaž Celarc

Pawel Starzec

“Berlin shooting game—the book

“Iconoclasm” (2012)

of mistakes” (2012) Elsa Thorp “I gaze within the fog” (2012) Francesco Cascavilla “Triptych of flowers” (2012) Ieva Raudsepa “How long is now?” (2012)

Cover image: Katarinasočan, “Lesspainless” back cover: Agata Poniatowska

Una Stade “Freedom of religion” (2012) Wei Hsu “Clubsterben” (2012)

“People will laugh” is the theme for the third issue of EIN magazine, a free online publication. EIN magazine is a unique and innovative digital photography magazine that serves as an exhibition space for new conceptual and experimental photography. Each of the


DEADLINE: 31 December 2012 COST: Free SUBMIT: 1. Up to 20 images comprising of one

EIN magazine issues is based on a theme

photographic series that responds to the

that represents a creative block. EIN is

theme “People will laugh” send all images

searching for artistic photo-projects that challenge the theme. EIN magazine strives to promote emerging creative talent on the international arena.

for issue #3:

“P  eople w i l l l a u g h”

as high resolution jpgs (at least 150 dpi) 2. A short text (max 250 words) about how the project responds to the theme 3. Information: a) Title of the series b) Year c) Your name d) Your website e) Your telephone number ONLY FULL SUBMISSIONS WILL BE CONSIDERED Contact: Further information: Rights: Photographers retain all rights to their work, artists grant EIN magazine the right to use their images in the magazine. Also artists grant EIN magazine the right to use their images to promote the magazine and for display on the EIN magazine website.

EIN magazine #2  

“It’s not good enough” The notion of “It’s not good enough” embraces such ideas as rejection, exclusion, urge for progress, power and compet...

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