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THE SMOTHERING Self Gazing, self-portrait ph.: Miss Aniela - (see interview page 116) SEMESTRALE - ANNO VI - N.1/2016 - N.8 DIRETTORE RESPONSABILE Emanuele Cucuzza RESPONSABILE DEL TRATTAMENTO DEI DATI PERSONALI (D.LGS. 196/2003) EdiFore srl IMAGE IN PROGRESS (VERSIONE TELEMATICA) Registrazione del Tribunale di Roma n. 260 dell’8 giugno 2010 ISSN: 2038-6214 IMAGE IN PROGRESS (VERSIONE STAMPATA) Registrazione del Tribunale di Roma n. 261 dell’8 giugno 2010 ISSN: 2038-6206 PRINT / STAMPA Settembre 2016 - Kerschoffset d.o.o. - Ježdovečka 112 Zagreb - 10250 - Croatia - IMAGE IN PROGRESS È ASSOCIATO ALL’UNIONE STAMPA PERIODICA ITALIANA


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All text and layout is the copyright of EdiFore srl. No part of Image in Progress may be reproduced, stored in a retrieval system or transmitted in any form or by any means in whole or in part without the prior written permission of the publisher. All copyrights and trademarks are recognised and used specifically for the purpose of criticism and review. We reserved the right to edit letters, copy or images submitted to the magazine without further consent. The submission of material to EdiFore srl, whether unsolicited or requested, is taken as permission to publish in Image in Progress and/ or on line on its official website(s), social media, social networks and other digital and/or tablet editions. The publisher cannot accept responsibility for any unsolicited manuscripts, images or material lost or damaged in the post. While every reasonable care is taken to ensure accuracy, the publisher is not responsible for any errors or omissions nor will accept any liability for any loss or damage, howsoever caused, resulting from the use of Image in Progress, its website(s), social media, social networks and other digital and/or tablet editions. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publisher and no legal responsibility can be accepted for the results of the use by readers of information or advice of whatever kind given in this publication, either in editorial or in advertisements. This magazine is fully independent and not affiliated in any way with the companies mentioned herein.


t: Emanuele Cucuzza

“Collectors, galleries and dealers, we are all looking for that thing we have never seen before.”

ph.: David Goddard

Words by Sarah Hasted, recently appointed Vice President of Sales and Director of the new Photography Department of Edelman Arts. With Sarah we talk about price fluctuations in the art world, the effects of an artist’s death and how photography is changing. Interesting reflections with many insights for artists and collectors.

Sarah Hasted is Vice President of Sales and Director of the new Photography Department of Edelman Arts. For over 25 years, she has been known for her innovative promotion and appreciation of contemporary art and photography, she discovered, strategized and championed the careers of artists worldwide. Hasted has consulted for international private, corporate and institutional collections, including hotels and foundations. She has consulted for many private collectors and has placed artwork with numerous major museums and corporate collections, including consistently facilitating museum exhibitions for its artists and placing their work in such esteemed institutions as the JPMorgan Chase Art Collection, Los Angeles County Museum of Art, Maison Européenne de la Photographie, Rockfeller Foundation, Samsung Museum of Art, The Margulies Collection, The Metropolitan Museum of Art, The Smithsonian’s National Portrait Gallery, Victoria & Albert Museum, and many more. Prior to joining Edelman Arts, Hasted was the founding partner and Director of Hasted Hunt and Hasted Kraeutler galleries for 10 years. Regarded as a showcase for emerging international talent and established 2

artists, her galleries became highly recognized venues for contemporary art worldwide. It was home to singular, pioneering exhibitions and has helped foster the careers of some of the most original, wide-ranging, and international artists working today. The gallery’s artists were featured on Thirteen’s Sunday Arts, the BBC series “The Genius of Photography,” The artists she worked with were regularly recognized for their outstanding achievements by the National Endowment for the Arts, Prix Pictet, Ford Foundation, Guggenheim Foundation, the TED Prize, Deutsche Borse, W. Eugene Smith Memorial Fund, and won many prestigious prizes such as The Johannes Vermeer Prize, Cannes Silver Lion Award, Grammy, Lucie, and The Royal Photographic Society’ Centenary Medal, among others. Sarah Hasted has been an adjunct professor at Parsons, The New School of Design in the Bachelor of Fine Arts and Masters of Fine Arts programs for the past 13 years. She also serves on the Board of an arts program for at risk urban youth, Moving Mountains Theater Company. She received an award from Moving Mountains in 2013 for her contributions to her community. print and protect.

Book digital printing and artisanal custom clamshell boxes handmade in Italy.

Italian Creative Book -


ph.: Emanuele Cucuzza / EdiFore: “Illuminami_ph” / “Prayers” - Rome, 2014 - Editions 30 - AP5 - B&W giclée prints on Hahnemühle paper - 308 g

Publishing and Photography -

Photography, as you’ve never read it before!

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Photo © 2016 Nels Akerlund. © 2016 Alien Skin Software, LLC. All rights reserved. Exposure and Alien Skin Software are registered trademarks of Alien Skin Software, LLC.

Come see how much simpler digital photography can be. Over the past 10 years we helped photographers develop styles based on beautiful analog processes. Now Exposure X also handles the practical side of a professional workflow, including lightning fast photo organization. We completely eliminated frustrating concepts like catalog files. That lets you non-destructively edit RAW images without an import step and easily work on the same photos from multiple computers. TRY EXPOSURE FOR FREE. ALIENSKIN.COM

“Exposure has always helped me explore new styles. Now I’m excited that it can help me be more efficient too.” — NELS AKERLUND


t: Emanuele Cucuzza - ph.: Alessandra Di Consoli - Superstudio

SuperDesignShow 2016, the new frontiers of Design (and Photography…) Photography is increasingly involved in the world of Design. We talk about it with Gisella Borioli. She is the creator of SuperDesignShow, a not-to-be-missed event to follow new sector trends. Entrepreneur, fashion journalist and art director, former editor of important fashion magazines (Vogue, L’Uomo Vogue, Lei/Glamour, Donna, Madame Figaro Italia, etc.), Gisella Borioli, along with her husband Flavio Lucchini, created also Superstudio Group, the unique project with two big iconic locations in Via Forcella 13 (Superstudio 13, a city for image with 13 photographic studios and services for fashion) and Via Tortona 27 (Superstudio Più, a big creativity center for cultural and commercial events and exhibits) that hosts, promotes and organizes events on creativity and communication, with particular reference to the areas of fashion, art, photography and design, excellence of food, wellness as well theatre, dance and innovative languages of arts. Along with the highlight of the Fuori Salone during Design Week since 2001, from 2009 with the new projects “Temporary Museum for New Design” and “SuperDesign Show”. Indeed for her contribution to the development of Milan’s city life, in 2014 she was also assigned by the Mayor of the prestigious award “Ambrogino d’Oro”, a proof of her precious work during these years and also a recognition for Superstudio as an influent reality for the cultural life of the city. 26


Milan, the city of fashion and design par excellence, has been evolving even more rapidly for some years now thanks to the latest edition of EXPO, to new areas with advanced-concept buildings and to world-renowned events such as fashion week and design week. There is a lively cultural atmosphere, which receives a significant impetus also from Superstudio Group and Zona Tortona as a whole. In fact, as in past years, during Design Week in April, Superstudio set up the SuperDesignShow, a Media Partner of Image in Progress from the start. Superstudio - a well-known multi-function structure, with a 17,000 m2 exhibition area between Superstudio Più in Via Tortona 27 and Superstudio 12 in via Forcella 13 and via Bugatti 9 – has used its space to emphasize research, extraordinary day-to-day living, freedom of choice, contaminations between classic and avant-garde, between industry and craftsmanship, between tradition and future, between simplicity and wonder. The theme of the year was White Pages to “write together the key words of tomorrow’s world”, displayed in the common areas by illustrator and artist Sandro Fabbri. Companies and designers

accepted the invitation to bring to the exhibition not only ready-to-use objects and proposals but also futuristic and experimental projects, narrating them with words and installations. Also the 2016 edition, under the artistic direction of architect Carolina Nisivoccia, was a world-class event, the first stop for a visitor to the Tortona District, with impressive numbers: a total of 130,000 registered visitors (excluding evening events and cocktail parties) with a 13% jump compared to the previous year and as many as 2,270 registered international journalists. An incredible visibility for the 84 exhibitors from 18 countries. SuperDesignShow, which received the Milano Design Award - Best Engagement to AISIN, is a project created by Gisella Borioli, who accepted to talk to us. What satisfied you the most in this edition of the SuperDesignShow? “That it was once again, according to media and operators, the key point in the area and in the entire Fuorisalone, a place not to be missed, like the Triennale, and the Mudec, which is in the same area. Our collective effort was rewarded, with this extraordinary edition that saw the participation of very demanding global brands.” 27


What were in your opinion the most useful innovations exhibited this year, as a user of living and working spaces? “The most “useful” innovations, I would say, were the disappearing modular minikitchen by miniki, the paper-topped table by Hand Studio, the acoustic loudspeaker by Kef… I liked a lot the sculptural fireplaces by Focus, the high-relief rugs by Carpet Sign, Radici’s customized carpet placed in all the common parts.” Interesting were also the emotional and mysterious concepts by Pietro Travaglini, a young designer who introduced his new lamps within a fairy-tale-like project “à la Tim Burton”, with the cooperation of celebrated photographer Giovanni Gastel. Photography, too, is a sector you have long been involved with. How is Superstudio growing on this front? “We should not forget that our roots are in the 28

world of photography and fashion with the opening of photo studios Superstudio 13 in 1983. Photography is a form of communication and contemporary art, understandable by all, always present in our choices and activities. Superstudio 13 evolves constantly, keeping pace with the times and the new demands and it is still to this day the most important, visited, beloved centre of quality photography. A great satisfaction after 33 years.” The current connection between interior design and photography seems increasingly strong. You can see that in the way shops and luxury hotels are designed, in the way both old and new photo prints are contextualized and match in dream-like atmospheres, perhaps even overshadowing paintings… Do you agree? “Photography is a truly universal medium, which can communicate, evoke emotions, make you laugh, think or simply prompt you to look thanks


to its ability to touch and capture everything. Digital renderings, videos, animations are just the fantastic aspects of photography. Whereas paintings represent history, the past, an elitist way to treat the image, there is no doubt that photography is more democratic and is the future.” New photo print techniques for purely decorative purposes on various surfaces have reached such a stage of perfection as to be used in a highly effective manner also on materials such as marble, becoming an equally important substitute with fewer editing inconveniences. In this edition you exhibited also a sector dedicated to materials; what other interesting developments did you notice? “It is interesting to see how new materials - such as synthetic surfaces that reproduce natural elements, wrappings that enclose very large things such as

tramways, photo prints that reproduce exactly difficult subjects on any kind of surface - originate from an innovative use of photography. All these examples were in SuperDesign’s presentations.” Events such as SuperDesignShow require longterm planning; can you give us a sneak preview for next year? “Preparation work does take one year but during that period there can be changes, rejections, novelties, transformations. Any sneak preview now would be meaningless as things can and do change. Yet there is one thing that we can say: “Time to Color” will be the overarching theme of SuperDesign 2017.” 29

Giulio Limongelli - Fade in Italy - mini box - (available also Large)


Mitar Terzic - Lemuria - Large box

t: Emanuele Cucuzza

Art in a box

Time to take on new challenges Synergies out of passion Publishing a magazine like Image in Progress brings with it, among so many positive things, a web of international contacts, relationships and collaborations with creative, professional and interesting people, all of them eager to express their talents, often without the financial motive… The artistic side of photography, anyway you look at it, is exciting and exhilarating precisely when it is expressed naively, thus in an original manner. But the life of an artist is hard, production costs are high and, in such a differentiated market, specific demand and supply do not necessarily meet. Time to take on new challenges So we thought that it was time also for us to take on new challenges, by creating a new market - a new situation to help both creatives and buyers - and advertise it through our channels. Besides the more or less explicit recommendations that one might get by reading our articles, here we have come up with a specific formula so that a limited selection of prints from various authors – based on an agreement with them – can be purchased ready to be framed. Ready-to-use art Following the latest trends identified at auctions, trade fairs and international photography festivals, 34

we tried to focus on two formats, “mini” and “LARGE”, both easy to use in private and public spaces. Obviously, they can also be just collected and conserved, in view of potential value increases in the future… The way photos are shown is evolving but, in our opinion, some combinations never change, such as that of a mat (or passepartout) of various sizes, thick and of a specific shade of white matched with black or white frames or the various natural wood colours. With that in mind, we thought that every print should be sold with a double mat to protect both the front and the back of the print. On the back there is also a window for the signature and other details. The double mat is useful also to avoid risks during the shipment and is ready to be framed. In any case, you can always replace it with a bigger mat, or with another of a different shape or colour… The box To protect and possibly preserve the photos also after the shipment, we have designed customized boxes, in thick cardboard, lined with fabric and handmade in Italy. In this way, these limited-edition prints can be, in their elegant case, an interesting alternative to coffee table books, or they can be placed on a lectern or on bookshelves. Actually, however, they are intended as a window on one’s

Giulio Speranza - White - Large Box

Harry Fayt - Freedom - Large box


taste, imaginary or even dreams and memories. Thus, they have to be framed and exhibited with adequate light to enhance their appeal. It is important to avoid reflections. So, if you do not want to invest too much in museum glasses, which are designed to avoid reflections (the best option but also the most expensive), you can frame them without any; in this case, the risk is large but you have the best result possible. If, instead, you are less demanding in terms of visual quality, expect more risks and are more concerned about preservation, you should pick glass or plexiglass. mini or LARGE? Mini prints seem perfectly suited to the new trend of creating a sort of mosaic that need not to be regular and symmetrical while large ones may be for a combined use, but more often individual. The choice between a mini and a LARGE box of limited prints is not necessarily determined by cost, because not all authors will include their works in both, not all with the same photos in both sizes, not all at the same prices. In fact, we focused on the creation of a, perhaps innovative, context of our own, leaving a certain freedom of choice and a broad range of unknowns that you will discover progressively through the choices made by the artists, whose number will grow.

The artists Readers of Image in Progress know that we are a direct channel, a showcase where artists introduce themselves without filters. This time we have decided to take a chance and we are doing it by selecting some of the artists that we find interesting, with whom we are developing mutual esteem and more efficient collaboration. We have selected the photos together. Sometimes, we have managed and decided together the print techniques, the process and the options, involving also some of our partners. In any case, we believe that these are names that should be followed and that deserve our attentions to promote their work in the best way. We are starting with few ones, but other artists will be soon added. If you are interested in an advance preview of our art boxes and want to be then one of our first collectors, please send us an email here:

For further information, please visit our website and our pages on facebook and twitter. 35


ph.-t.: Jos Tontlinger


Jos Tontlinger (1959) lives and works in Brussels and graduated as a photographer and cineaste from the ICADI in Liege. After 15 fascinating years in the audiovisual industry, in a turn of events, Jos Tontlinger changed the course of his life and retrained to become a psychoanalyst. A profession he has been practicing since the 90s. Totally unexpected his ‘first love’, photography, re-emerged to claim an important place in 2010. The expressionism photographic art of Jos Tontlinger is featured in numerous publications and has been exhibited in solo and group shows in Brussels, Nice, Dubai, Hong-Kong, Hamptons NY, Miami, Singapore, Berlin, Zurich and London. His work, rooted in black and white, not just depict an image, but captures moments and inner feelings. A narrative emphasizing shades and forms. A style that is characterized by dizzying angles that transmit a sensation of greatness, make close-ups sublime windows, and find the underlying hieratic in almost every corner. He feels connected to the German expressionism cinema of the20s, and the American photography of the period between the 30s and the 50s, as well as to the Japanese contemporary photography. This inspiration and his experience in psychoanalysis, no doubt, has impacted his personal style of photography… 36

A sharp turn. Born in 1959, I live and work in Brussels. I initially studied photography and filmmaking (“ICADI” in Liège and “Le 75” in Brussels), and went on to work in the audio-visual sector for around fifteen years; I ended my first career working for a major production company. My life took a sharp turn when I decided to begin a second career, training as a psychoanalyst (ECF/ACF). I still work in a private practice on a part-time basis after having worked in various psychiatric and therapeutic institutions. Psychoanalysis and photography co-exist. Both practices are interlinked in many ways, both dealing with the condition of human nature in all its facets and nuances. My love for photography resurfaced in 2010. This resulted in many artistic activities and numerous individual and collective, national and international exhibitions in Brussels, of course, as well as in Nice, Dubai, Hong Kong, the Hamptons, New York, Miami, Singapore, Berlin and Zurich. My work. The work, anchored in the black and the white, expresses itself through silences, gaps to be filled, narration through impressions and layering. A few major principles predominate throughout the work: tensioning of the foreground and background, brightness differences and the absence of blurring. The aim is to always be at the limit, the intersection of the visible and the invisible, between what is framed and that which is out of frame, style and substance, geometry and chaos, the conscious and the unconscious. These images tend towards a certain form of intra-realistic conceptualism. I feel connected to American photography of the 30s and 50s, to German expressionist cinema of the 1920s, and to contemporary Japanese photography. Radical oppositions. Human nature is fundamentally comprised of radical oppositions of black and white (figuratively-speaking) that are both complementary and inseparable, creating a paradoxical balance through the permanent tensioning of movements which can seem opposed and incompatible at first glance. Understanding can only be achieved through a profound sense of freedom and acceptance of our contingent individuality being in a constant state of conflict with more reassuring ways of being, more oriented towards exclusive social, emotional or intellectual semblance. The translation of this understanding into images also implies the idea that the term “photography” may be too limited a descriptor for illustrating this permanent although balancing

ph.: Jos Tontlinger, “L’Oeil” (The Eye), 2012 - 120 x 185 cm - Edition of 10 - Fine Art RAG Paper with black American box


ph.: Jos Tontlinger, “L’’Espoir” (The Hope), 2012 - 120 x 185 cm - Edition of 10 - Fine Art RAG Paper with black American box




tension of the extremes lying between black and white, between the foreground and the background, between order and chaos, between light and darkness, between the internal and the external, between the explanation of a reading and misunderstanding, between hyperrealism and co-realism, between instinct and reason, between life and death, and finally, between the conscious and the unconscious. By moving forwards and backwards across these various layers of what is essentially our structuring duality, from what exists on the inside before being revealed to the outside, there is no merit to the exercise, not even in the attempt to be honest with oneself, but it is simply impossible to proceed any other way at the risk of losing oneself in the illusion of well-being projected to others, overusing artifice. The term “intra-realism” functions as an invitation to discern the reality included and hidden at the heart of that which we seek to understand with regard to our fundamental freedom and responsibility providing us with the option of crossing the boundary between the reassuring and the random, the border between an improvised actuality in becoming and dreams, or even contemplation. Irony. The concept of irony is omnipresent throughout this work: Irony designates a gap between rhetoric and reality, between two realities or, more generally, between two different perspectives, producing incongruity. The Real could be seen as the prototype of irony. These images emphasize low lights, visual depths, rigorous geometries, open spaces, stripping and deconstructing movement in order to put forward a different concept of time, an unvarnished and unaltered realism which serves to shine a spotlight on the ordinary that is sometimes perceived as ugly or even hostile at first glance, but which can then reveal itself to be profoundly human and ultimately pacifying. That which is shown, as realistic or trite as it may seem, is not the object focused upon, but rather the interior landscape for which it acts as a signifier. The human environment is manifold, interior and concentric, linking back to the individual perceiving it. Ultimately, these ironic landscapes are but human portraits describing individuals, although not directly but through what they create and that with which they interact. Irony is doubtless to be found here also: nothing means anything in and of itself; only through a given observer’s interpretation can meaning be found. Irony seems to lend itself to providing access to other landscapes than those which we believe we are experiencing.

ATELIER SMEDSBY International Photography Workshops

International Photography Workshops led by world-renowned photographers, organized by JH Engström & Margot Wallard.


ph.-t: Simone Arrigoni

Focusing Ourselves The winning story of Simone Arrigoni, classical pianist, piano tutor, and freediving world champion, who started a new career as an awards winning photographer



The eye - © Simone Arrigoni The staircase in the Museum of Contemporary Art in Chicago, USA, taken from above. 41

ARTIST DIARY Symmetries - © Simone Arrigoni The staircase in the Museum of Contemporary Art in Chicago, USA, taken with a unusual camera angle to simultaneously play with symmetrical, opposite elements: its elliptical shape is repeated vertically and horizontally in perfect symmetry, while fisheye lens create a counterposed eye. Awards: 2nd Place in IPA 2015, 1st Place in FIIPA 2016, 3rd Place in MIFA 2016, Best Photographer in Anghiari’s 2016, Nomination in FAPA 2016, Honorable mention in IPOTY 2016.

Freediving World record 101 mt - © Carlo Giuliani “Horizontal Free Immersion” in sea, 101 m Giochi del Mare, Formia, Italy, June 17, 2009.

Simone Arrigoni is a classical pianist, piano tutor, and freediving world champion. Since 2010 he has been developing his interest in photography - a powerful means of expression and exploration for him – in which he looks for unusual perspectives, details, light, and symmetries. His photos and reportages have been published in print and online magazines, and have received awards in prestigious international photo contests, such as IPA, MIFA, FAPA, FIIPA, IPOTY, EPSON PANO, and Oasis. 42

My first award-winning picture A simple staircase belonging to the Museum of Contemporary Art in Chicago (IL) and designed by Josef Paul Kleihues. The staircase is well known to photographers around the world because its pointed ellipseshaped centre and the contrast created by the German architect’s choice of black and white provide opportunities to create interesting shots, although most of these focus on the centre of the stairwell. When I found myself climbing these steps I tried an unusual camera angle and discovered a unique chance to simultaneously play with symmetrical, opposite elements. So in the shot the elliptical form of the stairwell is repeated in perfect symmetry, which is developed not only vertically but also horizontally, thanks to the curved lines created by my fisheye lens, which create an ‘eye’ that is similar but counterposed to that of the stairwell. At the same time, the lights seem to illuminate the environment in a repeated, contrasting pattern, creating a silken effect whose warmish tone recalls the ochre of the central handrail. This perspective gained me recognition and awards in some of the most prestigious international photo contests, such as the 2nd Place in IPA 2015, 1st Place in FIIPA 2016, 3rd Place in MIFA 2016, Best Photographer in Anghiari’s 2016, Nomination in FAPA 2016, and Honorable mention in IPOTY 2016.



ph.-t: Salvo Bombara

“Summoning of the muse”

“Courting the light,


“Courbette” - Honorable Mention - MIFA 2015 - category Advertising/self promotion


...loving the darkness” 57

ARTIST DIARY Salvo Bombara - “Hate or glory” IPA 2015 - category Fine Art: Honorable mention - cat. Beauty: Honorable mention MIFA 2015 - cat. Advertising/self promotion: Honorable mention Monochrome Awards 2016 - cat. Conceptual : Honorable mention CELESTE PRIZE 2015 - category Photography: Nominated Selected to be shown as a part of a digital display at the Exposure Awards 2015 exhibition - Louvre, Paris Sel. to be shown as a part of a digital display, along with other photos, during the BIPA 2015 exh. Barcelona, Spain Sel. to be shown as a part of a digital display, along with other photos, during the SCOPE exh. Miami, U.S.A.

Salvo Bombara, born 1977, lives and works in Milazzo – Sicily. A lover of art in its many forms, he quenches his thirst for learning by consuming print media, watching documentaries and collaborating with those who share his passions. His studies went through natural science and chemistry and led him to his current main work in a chemical laboratory. The combination of scientific studies and an intense passion for photography has produced a deep analysis of light, breaking down its structure in order to find the desired frequency. He soon applied his knowledge and his love for an obscure use of imagery to define his own style of dark portrait photography. 58

He’s also interested in illustration/painting art and he’s a collector of original drawings and comic book pages.Bombara’s work includes mainly two photographic genres: Infrared and Underwater. His photography received several recognitions in different countries all over the world, like honorable mentions at Moscow International Foto Awards, honorable mentions at International Photography Awards and recently a nomination at the prestigious Sony World Photography Awards 2016.



ph.-t: Marco Tenaglia

Photography is a lifestyle Born 1971 in Rome, Marco Tenaglia lives and work between Rome, New York and London, and is known for his unconventional black and white fashion portraiture. His bold and intriguing photographic vision is the result of a mixture of both contemporary and classic styles. Tenaglia’s women aren’t classical expression of beauty. Often photographed in recurring poses, placed in luxury or decadent settings, they show a strong personality and a sort 68

of cold sensuality. His photographs are balancing on this fine and sometimes tricky line between fashion-beauty-glamour and erotic-sexy-trashy, resulting in an elegant and sophisticated black and white photography with a timeless quality and the perfection of imperfection. Renowned for being easy to work with, Marco ensures a comfortable, friendly but always professional atmosphere for every production.



ph.: Mika Ceron - t: Emanuele Cucuzza


ph.: Federico De Luca

Mika Ceron was born in Berlin in 1974. After finishing high school and completing civil service as a paramedic, he studied philosophy. He switched majors after four semesters and graduated with a degree in photo design. He became a freelance photographer in 1996 and launched his agency DIAZO in 2000. Mika works as a photographer, filmmaker and creative director, developing campaigns for fashion and record labels. As an artist, his work focuses on designing and photographing triptychs. 82

Klaus Kampert - Moonstruck-6 - 2001, Edition of 25+3AP, 30x30 cm, Pigment print on Canson Baryta


ph.: Klaus Kampert - t: Emanuele Cucuzza



Klaus Kampert - Moonstruck-3 - 1997, Edition of 25+3AP, 50x40 cm, Pigment print on Canson Baryta


Klaus Kampert - Solar Son-3 - 2015, Edition of 25+3AP, 55x40 cm, Pigment print on Hahnemuhle Photo Rag


I was born in 1953 in Duesseldorf, Germany where I still live and work today. As a child I spent a lot of time drawing and later on painting and sculpturing. But when I was about 19 years old, I made my first more playful steps into photography – with remarkable results after a while. As a photographer I am self-taught. In the early 8o´s I established my own studio working as a free-lance photographer for the communication industry – mainly fashion and 94

beauty productions at home and abroard. But also from the beginning and increasingly I did my personal projects which became more and more important to me and today are my main field of work. I am mostly dealing with the human body, with the triad of body-mind-emotion in particular. For me, the body is the shell of the soul and it is this that I try to explore, as it lets me get close to the human being as a whole. Moreover I have a weak point for picturing three dimensional statue-like bodies in whole or part in dramatic lighting and posing. Many of my images, especially nudes and ballet-dancers have been printed in international publications and are much sought after among collectors.

Klaus Kampert - In Circles-11 - 2014, Edition of 25+3AP, 50x40 cm, Pigment print on Hahnemuhle Photo Rag


The body is the shell of the soul. My work is mainly concerned with the human body. Still, I do not consider my images to be classic nudes or erotic photography, although these genres may have an impact on my work. I am not interested in showing beauty as an outward phenomenon. Rather I would like to present the human being as a whole: Body and mind united. By picturing nakedness in an image, it is to reveal mind and emotion, not only showing the body as such. Among my models especially the ballet dancers are those who succeed in expressing this wholeness in a particular manner. Their bodies bespeak the constant pursuit of beauty, grace, achievement and perfection. It is my intention and my passion to display this to the viewer.

Awards Graphis Photography Annual 2010: Gold Award; Photography Masters Cup 2010:, Merit of Excellence; Prix de la Photographie Paris, PX3: Gold Medal; Photography Masters Cup 2011: Honorable Mention; Graphis, 100 Best in Photography: Gold Medal; Black&White Spider Awards:, Merit of Excellence; International Photography Awards, IPA,; Prix de la Photographie Paris, PX3: Gold Medal; Prix de la Photographie Paris, PX3: Silver Medal; Graphis Photography Annual 2014: Gold Award; Graphis Photography Annual 2015: Gold Award. 95


ph.: Miss Aniela - t: Emanuele Cucuzza



HALF LIFE Ecology, self-portrait



Miss Aniela (Natalie Dybisz) resides in London UK. ‘Aniela’ is the middle name of Natalie Dybisz, one half of Miss Aniela Ltd, together with her producer partner Matt Lennard. Originating as a self-portrait artist in 2006, Miss Aniela is now a photography team undertaking global fashion and advertising assignments. Miss Aniela’s work has been exhibited internationally for Vogue Italia, Saatchi Gallery London and Affordable Art Fair, and featured in NY Arts, El Pais, ALARM Chicago and BBC. She is the author of two photography books and runs the Fashion Shoot Experience, inviting photographers to join her on top editorialquality shoots around the world. For “Surreal Fashion” images, Miss Aniela creates, mixing fine-art and fashion photography, an intricate balance of contemporary creativity, where beauty meets absurdity and couture meets chaos. At once both cinematic and painterly, the artist shows her love for bold aesthetics telling a movie production in one frame. Larger than life characters dominate the scene, some wistful, some intimidating, some fused with classic paintings, shot in the most surreal and beautiful locations in the world. 118

DOUBLE BIND Ecology, self-portrait




Miss Aniela - FREEZE FRAME Iceland


shirt: Zara lingerie: Rilke




Photographer: Maria Eriksson / Nouvelle Vague Model: Natalia Chmielik / Rebel Models Stylist: Daria Biedrzycka Make-Up & Hair: Iza Kucmierowska Ph. Assistant: Grzegorz Broniatowski Post Production: Grzegorz Skonieczny 135


SUMMER OF 69 Production: Schulenburg Fotografie Photographer: Katrin Reinecke Styling: Anja Rühl Model: Sarah S. (@ Seeds Model Berlin) 148



t: Anita Zechender

Photos of a Soul CHAPTER 8 - Multiple Existences To Edoardo Our Wonder Our Aurora Borealis

The mirrors in this fortieth floor apartment in Manhattan are all different. Each tells its own unique, complex story, defined by reflections from the sun, which is so close up here you can almost touch it. There is a simple, minimalist mirror with no frame. My image here is surprisingly true, its gaze strips me bare; the words, which describe my life, glide easily over my skin, creating a swirl of ideas, visible for just an instant when caught in the sun. I am a mother. I am there between the folds in those reflections, with my happy, tired skin, and with eyes of one still young who has already experienced all the love possible.

the corner of the room I am just a child. At first, I hardly recognise myself, but then here I am, and for the first time I identify myself with my physical unity: something that is perhaps no longer me, but rather my ideal self. I know I will not be able to photograph it because in a few breaths it will disappear; and so I quickly turn to Ethan. He watches me, he understands me immediately, he is the only one who can take pictures of the “ideal me�. He shakes his head, he does not want to do it; he walks towards me and holds me tight. In those arms I am not perfect, but I continue to be all that I could wish for. I tread more lightly and my image is reflected in that eighteenth century Venetian mirror. The curving gondolas make the noise of New York seem very far away, and I am a vain lady dressed in fine cloth. A bodice is tight round my waist, my form is supported by tulle and rings of thin coated wire, with rich fabrics such as velvet, satin and brocade, trimmed with lace and ribbons.

My hands smell of syrup, of baby talc, and of the milk that flows through ancient fables. The smiles of my children tell me of happiness. I feel beautiful. I feel like I do not need to look in the a mask, which cannot be mirror. Not anymore. damaged. Suddenly, I want Because what I feel inside turns me into an to photograph that elegance: eternal being; courage is my guide, and time runs through the weft of everyday life. I forget to take pictures. I do not know where I put my camera, perhaps in one of those bags full of other, more important, things. I take a step and I am inside another mirror. Look at it, with its old-fashioned, baroque style, which framed all those grotesque expressions and emotions that appeared by chance one night, so many moons ago. Here is another one in a gorgeous Art Nouveau style. The natural details come to life and I become part of the Tree of Life by Klimt; my arms are branches, and my face is illuminated by that intense light, that only the universe can transmit. But in that little mirror in 158

that beauty as bold as the Genius of the Intellect, ravished by the past but so real in the present. I click. I feel better. This room revolves through the island’s skies, and now I remember the Hall of Mirrors at Versailles, and my body is transformed once more, surrounded by ceremonies and etiquette. The salon is filled with laughter caught behind a fan, the outline of a mole covered by a dusting of powder, a sudden and ever appropriate grimace. I have stolen every part of that story, of that new me. A shaman from the Far East is staring at me; I have the feeling that this is a magic mirror;


someone from the other side of the world is watching me. Maybe he needs me, or I him. He is crying, behind his face I see only despair; fragments of troubled lives destroyed by pathological minds, as in that painting of Guernica. Then the man suddenly closes his eyes; he is meditating, praying. For a moment, there is an atmosphere of Hope and Peace. I suddenly feel suffocated. I run. Here is the mirror, which shows me still unformed, the ‘me’ of some years back with my reddish hair. A fussy skirt worn over trousers and a pair of leather heels make me seem like a woman, but the gaze is that of a young girl.

I need to photograph myself in my twenties, those years that no longer belong to me, those years that I crave for. Sometimes I want to linger here for a while. I searched so hard for them, those years of hope and revolt; but this is why I could not see them anymore, because they were trapped here. The image in the mirror is confused. Manhattan disappears among its skyscrapers and my youth reappears in the windows of a square house in Harlem, with my friend Cabiria winding her Afro threads into my hair. I’m crying, and mascara is running down my face. I feel free; finally here is a mirror that does not imprison me. Being free, I can walk, and I do not see any more mirrors. Here they are in pieces on the floor, unable to contain me and to reflect my many aspects. I take photos faster and faster, maybe they can help me decipher what was behind those stories. I feel lost. Like a novelist without a story.

I have a Polaroid camera with me. I try it, and immediately I see the sad smile of a clown, the character who always laughs despite everything. He laughs for others but not for himself; maybe. I stop. I breathe. I tear the smile from the clown. I hear the sweet voice of my life. I am looking for a window in that skyscraper that I cannot find. I go out with Ethan to take the elevator, and I run towards the sun that is coming to greet me. There, on that street, amazingly free of cars, there are no mirrors to trap me or to liberate me. I do not want to remember that time; I just want to live it. I hold my hands to my face, I smell them, and recognise syrup, talc and milk. I am young, I am in all those lives, and I can enter and leave each of them. But for now, I just want to walk on a street without mirrors.

It is 7.00 p.m. here in New York, and the moon is still hidden behind the mirrored surface of the sky. To be continued in the next issue.

*Anita Zechender, a free-lance journalist, a traveler by inclination, loves to observe the world’s nuances, understand their interconnections and leave them again free to play. After she obtained a Master’s degree in fashion, she has been researching new trends and has performed advertising work for Miss Sixty e Murphy&Nye. Writing for her has always been artwork, something that needs phantasy to be intuited, courted and loved. Photography, fashion and art unveil the eternity of time to those who have the soul to understand it. She writes about travel, photography, fashion, art and design for international magazines. Inspired by Bradbury, Nabokov, Allende and Tim Burton’s films, she is taking her first steps as a writer with a story written in installments for Image in Progress. 160

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