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ph: Olivier Valsecchi -



Art in... dust!

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F: 16 - Time: to open your mind! There is no doubt that skills, effort and expertise exerted in a limited sector lead to more professional results. However, the current state of the economy prompts us to take a second look at a very important aspect. Generally speaking, professional ethics can be quite strict when it dictates that no work should be accepted outside one’s area of specialization. Yet, in practice the great majority of photographers comes to term with reality and bends some principles. In fashion, advertising and art, in particular, it is not a good idea to accept commissions for works other than those for which one has developed a reputation. On the other hand, it is an open secret that many professionals do engage in activities that are not quite in line with their interests. War photo reporters accept to shoot weddings, advertising photographers pay their rent by doing books for models, photo artists shooting family portraits, authors of sophisticated fashion editorials who prepare wine catalogues… Always careful to protect their good name, whether their career is just starting or they are already established, professionals are often faced with bills to pay, late payments and the haggling which companies, agencies and renowned magazines (those for which many would work for free at least once in a lifetime for the prestige and visibility associated with them) engage in to try to save a buck… The desire for good, steady cash flows is nothing to be ashamed of, quite the contrary… Those who roll up their sleeves and work hard to achieve financial independence always deserve credit. On the other side, there is always this “brand” management problem. What to do? One or more pseudonyms, or assumed names, (depending on the sector) or a simple separation between one’s studio (whose

name might encompass also work performed by assistants) and one’s portfolio. A portfolio is always a business card, a showcase for the works for which we would like to receive commissions… In other words, a blessing for the lucky few. And finally we get to that key word… it all revolves around Lady Luck, a blindfolded goddess that, thanks to chance meetings and strange chemistry, fosters change, one way or the other, in the professional life of a creative. As we have been showing issue after issue, there are many talented photographers but we do not even know the name of a large number of them. There are some who have this passion but make a living in a different way; those who do not even consider the possibility of engaging in art and use photography just as a business and those who just quit, even though they might have the touch. Yet, how many times have we seen disappointing photos, even by leading professionals? It happens every day, even in these photographers’ chosen fields. Why, then, should versatility, or rather the ability to adapt to new market requirements be still a no-no instead of something praiseworthy? Living in a world of fairy tales, where there are no finder fees, how many times favours to colleagues are not reciprocated? Thus, besides the lucky few, why not rediscover photography and one’s professionalism from a different standpoint, to be able to provide better service? Maybe there is something new around that corner, something that might even cast a brighter light on our own path. Emanuele Cucuzza Editor-in-Chief

COVER: Photo by Olivier Valsecchi Special thanks to Galerie Céline Moine


Emanuele Cucuzza


Silvestro De Falco PUBLISHER / EDITORE

EdiFore s. r. l. via Orti di Trastevere, 55 - 00153 - Rome - Italy T: +39 06 58 30 19 18 - +39 02 30 31 43 34 - DIRETTORE RESPONSABILE

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Registrazione del Tribunale di Roma n. 260 dell’8 giugno 2010


Registrazione del Tribunale di Roma n. 261 dell’8 giugno 2010


Meet people, get information, pick up equipment

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Editorials 6 Something and somebody to follow by Warrent Satt 8 Collecting Unpublished by Andrea Mineo 10 Keep your photography easy... by Robert Norbury 12 Working in Berlin by Federico De Luca 14 From Model to Jewel Designer by Shannon Shiang 16 A new network in Paris by Elose Artist 175 Photos of a Soul II by Anita Zechender

Publications 19 Shooting the “Birth of a Ship” t-ph: Nenad Saljic 26 “I love people’s fashion” interview with Danielle Levitt 32 “The book is where everything begins.” interview with Guido Argentini 48 “A blind date with an App!” interview with Pavlove Der Visionaer Beyond Photography 80 “Shaking the Soul” interview with Jean François Lepage

Cover Story 98 “Let me explain Dust and Chaos” t-ph: Olivier Valsecchi 105“Me and Olivier” t: Céline Moine

Experiment 86 “Eclectic photography” interview with Paola Guigou 4

Artist Diary 52 “The Anatomy of the Planet” t-ph: Marcin Owczarek 56 “Me, Myself and Photography” t-ph: Betsy VanLangen 62 “Love at first sight” t-ph: Veronica Lounge 67 advised by Girgenta: 68 “Finding the “outhers”, shooting self-portraits” t-ph: Lilya Corneli 74 “Engel and Engelstueck” t-ph: Julia Krahn

Focus On 106 “…a damned fine place to be!” interview with Nick Brandt 118 Grigio18% 120 “Fallen into Toby’s World” interview with Toby Burrows 128 “Gone with... Beauty” interview with Jan Francis 144 “Find your own Style!” interview with Richard Machado 150 “Fashion Photography between sensitivity and culture...” t-ph: Chiara Ceci

Location&More 168 Temporary Design Museum 170Turning Torso

Fashion in Progress texts by the teams of free lancers who did these shootings. 154 “Black Radiance” 160 “A modern Fairytale” 164 “The white voice of silence” 5

Workshops and Tips t: Robert Norbury*

Keep you photography easy, focus on your target and... develop your personal style!


My tools and tips. My photography is very immediate I don’t care for tripods or themes or projects. I make photographs because I want to, they are biographical. I just point the camera and shoot. If you wait to set a tripod up or adjust the exposure or the focus or anything, it’s gone. You cease to be aware of what it was that you wanted to picture. I keep my equipment simple one camera one prime lens: the Canon EOS 5d Mark 2 with an EF 35mm f2 fixed focal length lens backed up, a Canon EOS 600D with a Canon EF 20mm f2.8 prime. Either of these rigs will fit in my man-bag or a large pocket. I nearly always shoot on program and use exposure lock or exposure compensation to adjust the exposure. One of the tips I give to clients that always improves their work enormously is to focus with the thumb by using one of the programmable buttons at the back of the camera and use only one AF point. This enables you to focus on one point with the thumb and lock the exposure for a different area with the shutter button. I like to call this power focusing rather than auto focusing. In portraiture always focus on the eye nearest the camera. I never use flash and I’m not afraid to use high ISO settings. In the office I use 27 inch iMacs and second Mac screen. Software is Lightroom 3. I never use Photoshop except for graphics on leaflets and cards. Printing is done with an Epson R3000. My influences. Influences and inspiration are very important to me. I take both from all the arts visual and aural. Who does it for me? Ralph Gibson, Patti Smith and Anders Petersen visually. I also like picture makers with a sense of humour for example Erwitt and Friedlander. I visit art galleries often. For my other senses I listen to a wide range of music, as I write this


its Glazunov and Rage Against the Machine. I often read the poetry of A. E. Housman out loud. My workshops to develop a personal style... I have decided to go in for teaching partly as a way to earn money without compromising my art or sanity. If I had carried on doing weddings I would have eventually flipped with the brides mother or strangled one of the grooms drunken pals. Private tuition is tailored to the individual. However the more advanced teaching is different. My ‘Long Distance Information’ workshop consists of a trek with full camping gear in The Peak District National Park, (we live right on the edge of it) ending back at base for post processing. Students will have full access to my knowledge anytime I’m not in my tent. The accent will be on the practical side of taking pictures, we will talk about influences and inspiration back at base when we have access to our art library of 400 plus books. For the less energetic my ‘Learning to Fly’ workshop at The Clocktower, Cumbria encompasses an afternoon discussing influences and developing a personal style. The Saturday will see us traveling The Lake District by steam train and boat, experiencing the flaneur style. Sunday will be post processing and individual interviews. The Clocktower. The Clocktower ( ) is the studio and darkroom of architectural photographer Timothy Soar. It’s also a venue for workshops hosted by leading photographers and a gallery. I get my clients via my website, blogging and making public appearances speaking to groups and leafleting tourist offices and the like. For the future I would like to get some books published.

*I am a fine art photographer living and working in Meltham, West Yorkshire. My work does not fit into any particular category, I am a flaneur, a wanderer with camera. Because of this my work encompasses many genres, landscape, street, still life, portrait etc. I was born in Dewsbury, Yorkshire in the industrial north of England. School was not a good place for me. Somehow I managed to get to grammar school where I spent 5 miserable years being disruptive and not learning much. A five minute chat with the careers teacher resulted in me going to art school. Two years there didn’t reveal much about me. I felt I couldn’t draw or paint very well and no one told me that photography is art. So, I became a Police Officer. 30 years later I was presented with another chance to leave my mark. I became a photographer. I started by putting pictures for sale in restaurants and pubs. I now sell pictures for book jackets through Millennium Images ( www.milim. com ). In 2011 I was a winner of The Hoppe, Street Photography prize at the National Portrait Gallery in London. I currently have a joint exhibition with Paul Hill, Tim Soar, John Blakemore, Paul Gallagher and Andrew Sanderson at The Clocktower. I teach workshops and tutor privately. Career highlight to date for me was John Blakemore asking to do a print swap.

Expanding horizons t: Federico De Luca*

Working in Berlin

The story of an Italian post-producer My Story. Photo editor, graphic designer, illustrator and cartoonist… defining one’s work is not always easy. I started out as an “analog” illustrator, until I discovered the computer (we are talking about 1998) and digital post-production: it was love at first sight. After a short apprenticeship with friends, and thanks to the collaboration with Giovanni Cozzi, I started working with important Italian magazines: Max, Maxim etc. Those were the years of successful calendars: Max, Gente Viaggi, Capital. After that, I worked with Alessandro Dobici and then with the main Italian advertising agencies and magazines. In 2009 I made a life-changing decision, I moved to Berlin. For me this is a new frontier: “beautiful but poor”, as the Germans say, and in the end this is the long and the short of it. Berlin. Berlin is full of “artists” of any kind, galleries where it is easy to run into the latest art trends. It is a city full of opportunities to experiment and contaminate. The only thing that seems to be short of is… work. The communication market is growing fast but it is still very poor. On the other hand, the cost of living is low, actually very low, especially when compared to other European capitals. This is an important aspect, because it makes it possible to draw to Berlin increasingly important productions. My work. Berlin made me reassess all my professional life. First of all, I realized that here I have to accept work that in Italy I rejected because it was not profitable enough. In fact, I did not work with photographers who could not guarantee a constant flow of commissions. Here, instead, I can afford to work on projects that are less remunerative in the short term, to try to achieve long-term goals. I even began to draw again

and I am working as a comics artist for a client in the United States. Berlin pace. I had to change my work pace: no more frenzy and exceedingly tight deadlines (pro) but also the excruciatingly slow development of business relationships (con). In essence, it may take months between a first meeting with a client and a commission. I almost miss the stress of other professional situations. The language. There is no doubt that there are “language” differences, also in the area of visual communication. For instance, business communication is much more direct than in Italy (which I thought it was too direct). There is less diversity in general “sensitivity” in the field of visual arts; on the other hand, at the fringes, there is a lot of experimentation going on, but these are very limited phenomena, though their quality is often very high. For instance, I am familiar with photography and (in my opinion) quality expectations for commercial photos are lower in Germany than in Italy, though there are very high level professionals. Perhaps that is because the environment has the right conditions for talents to grow. The same cannot be said for Italy, unfortunately. The postproduction. More than in other countries, there is skepticism toward digital postproduction software, which is considered just a photo editor more than a digital dark room. In my opinion this approach is too superficial. I do not like it when the digital takes over photography, upsetting its language rules, but it has undoubtedly become a necessary support. Photography is about light… not bits.


*Photo editor, graphic designer, illustrator and cartoonist… Federico De Luca, born in Rome in 1975, is an artist of the digital era with a long apprenticeship as an “analog” illustrator. He began working as illustrator and cartoon inker in 1995, when he still studied Sociology. He experimented with every evolution of drawing, including tattoos, and then what with accident and curiosity he began to develop an interest in digital postproduction, which got him to work with famous photographers and such advertising agencies as McCann Ericsson, with national and international magazines. He has been living and working in Berlin since 2009, with his fiancée, a molecular biology researcher. In his free time he plays softball, a passion he developed in Italy. 12

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Expanding horizons t: Shannon Shiang*

From model to jewels designer

ph: John F. Cooper

Model or muse? I entered the fashion world through modeling, but since I wasn’t born with a 5’10” frame and lanky appendages, I relied on unique features and strong presence (so I was told) to come through the camera. This meant I was not cast for runway shows or typical fashion shoots, but rather for more artistically inclined projects. These shoots tended to have less strict artistic direction or constraints than commercial projects, so I was often put into the position of muse rather than model. I was part of the creation process itself. Photographers would set their lenses on me and we would embark on a creative exploration process together. Refining my tastes. This co-creation process lead to a collection of very unique photos with very experimental lighting concepts that I (as an art major in college) found much more interesting than the standard commercial or fashion spreads I would see in magazines. All the while, each shoot was continually exposing me to a large variety of clothes and accessories. Taking note of I liked and did not like was honing my eye and refining my tastes. Additionally I would also learn the subtle way particular pieces translated well or poorly into photographs (which only comes through lots of experience with photograph). An inspirational moment in Dubai. One day during a trip to Dubai, I had a vision of a concept for a Jewelry line that came to me. It was one of those moments that are so strong that one can’t ignore, and so I didn’t. I realized that I had enough unique ideas for a jewelry line that I simply decided to (as Richard Branson and Nike say) “just do it”. Armed with my innate artistic abilities and my now (after so many years of exposure to accessories on shoots) refined eye I embarked on what was actually to become two distinct lines. One Shiang, my name sake, is based off of ancient sacred symbolism. From swan rings that represent ever lasting love, to delicate earrings that glorify a woman’s body, each piece of jewelry fuses sacred symbolism with a modern aesthetic, and combines elements drawn from many disciplines Religion, art, fantasy and spirituality are bonded into a singular creation. I would also like to mention that meticulously hand craft each piece in New York City. The second line is called Skins and Stones. This is a line inspired in part by nature and in part by other artists’ work. Each piece either draws elements from the natural world, such as the casted “crocodile skin” belt buckle to the pendant collaboration with the artist, Hans Haveron. These collaborations really inspire me. I most recently made a skeleton key based off of Hans Haveron’s painting, “Sepia’s Secret” which was bought by the American Idol star, Adam Lambert who later was so moved by the meaning, tattooed the skeleton key on his arm. The key represents

child within us that holds the key to unlock the infinite wisdom and mysteries of the universe. Shooting my jewels. While both lines are very different, I use the same criteria to select the photographers to shoot the lines. Obviously the photographers have to know how to shoot jewelry, but they also have to have a unique flare or sense of style. Peter Ruprecht, James Weber and Aurora Crowley have all helped me by adding their own taste to the shot. A good technical photographer can give me product shots that are exactly that… good. But an artist who happens to use his camera as his tool will deliver images that are unique and hopefully unlike other jewelry images out there. My contacts as model are useful. All of my background and experience as a muse has left me with an extensive list of photographers that I have worked that all have very different styles. Essentially I know who to call for a particular look; for example dark and moody vs commercial and poppy. Additionally, my extensive time on set has taught me to speak photographer language (f stops, depth of field, etc.) so I can communicate with them very efficiently and we can achieve the look I want through their eye with minimal confusion. All in all my experience as a jewelry designer would have been much more difficult had I not had the experience I did with modeling prior to it. Designing a future. What I love about jewelry, is that there are so many different ways to get to a design. I will design a piece, and depending on which way it makes the most sense for construction, I would either carve it by hand or have it digitally sketched. There are so many different ways to get accomplish a design so it is important to know the different mediums and construction methods. I hand finish many of my pieces and every piece is hand made in New York. My advice for models who want to get into the jewelry business is to take classes, get educated in the craft and see where your imagination takes you. The possibilities are endless. One of my major projects for 2012 is the design of the official “Lightning in a Bottle” (LIB) medallion. Lightning in a Bottle is a festival with focuses on music, arts, yoga, and sustainable living. It has been described by many as a cross between Coachella and Burning Man and has become annual celebration of these communities’ spirit and deep commitment to the preservation of the environment and its resources. My LIB piece will serve as a beautiful keepsake, memento, and statement of solidarity of LIB ideals for all that wear it. Most of the jewelry that I design is available for purchase on line as well as stores such as Otte in New York and S&G in Los Angeles.

In 1979, Shannon was born to Chinese parents on the progressive western coast of the United States. She came into this life straddling the worlds of eastern philosophies and western “modernities”. This duality in her upbringing coupled with her study of sculpture created a unique life perspective and background that translate into the dualities in her jewelry design. Whether it’s the merging of sacred symbolism and the modern aesthetics in her Shiang line or the interplay between nature and other established artists’ artwork in her Skins and Stones line, all of her creations fuse elements from disparate disciplines into beautiful one of kind pieces. 14


ph-t: Nenad Saljic*

Shooting the “Birth of a Ship” 19

Ryan, 15, Savannah, Georgia, 2007 - ph: Danielle Levitt


ph: Danielle Levitt t: Valentina Volpini

“I love people’s fashion,

how they visually represent themselves.” From “We are experienced” to her new projects, Danielle Levitt tells us about her work. Danielle Levitt started working as a photographer in the 90’s. During her career she has developed a very distinctive style capturing both high fashion and average people. Her work can be distinguished in a “more commercial”


kind of shooting and, on the other side, a “provocative documentary style”. Her fashion shootings were published in very important magazines such as “Interview” and “The New York Times magazine”. Her passion for documenting pop culture and American youth has instead led to “We are experienced”, her first monograph, published in 2008. It is a series of portraits showing teenagers in urban, suburban and rural settings. This work is not only a simple editorial, it represents a visual description of a certain generation’s way of life.

PUBLICATIONS ph: Guido Argentini t: Emanuele Cucuzza

“The book is where everything begins.”

Linda sitting on a broken tv - ph: Guido Argentini

What is the ultimate objective of a photo project? Guido Argentini has no doubts and in an exclusive interview he tells us about his relationship with models, publishers, collectors… and the freedom to publish one’s own books!


Aneta caressed by the window’s light - ph: Guido Argentini



A blind date with an App!

ph: Pavlove Der Visionaer t: Caspar Fischer

The Inneres Auge project, presented in our previous issue, changes and becomes an App. Artists and designers, featured with their eyes closed in the photos of Pavlove Der Visionaer, are now gathered in a map of creativity indicating where they have been photographed with info, photos and video clips. An innovative idea but also a leap…in the dark! Every day technology creates new opportunities, new challenges for those brave souls who dream up ideas and projects. These include definitely Pavlove Der Visionaer, whom we have already met in an Artist Diary in the second issue of Image in Progress. His ambitious project, Inneres Auge, is making progress and, from a collection of photos of creative people photographed with their eyes closed in their working environment, it has become an App, though only for iPhones for now. How did this idea of an Inneres Auge App come about? “The idea of the app was born out of the curiosity to explore a new medium, with peculiar technical and linguistic features, which establishes a new relationship between author and user.” What can it give you that a website cannot? “Apps can include functionalities that are not available in a web site. One such functionality is 48

geolocalization, to locate in real time the position of iPhones and their owners. Take for instance a store locator. A web site provides a list of stores that sell specific brands while an app can give you the list of nearby stores. Then there is a fundamental difference in the user experience. Using a metaphor, a web site is to an app what a press release is to a kit provided to participants in festivals and fairs. Users feel that they are receiving a gift that becomes their own property once it is downloaded on the smartphone or tablet.” What are the functionalities of your application? “I have always thought about Inneres Auge as a map of creativity in a city. The good mapping capabilities of the iPhone made this project possible. While access to contents and photos in the paper and web versions occurs based on the names of the creative in the photos, the app gives access also on the basis of their workplace, which is where I took their photos.”

‘Tanaiis’, 50x75 cm, 2010 - ph: Marcin Owczarek

ph-t: Marcin Owczarek*

The Anatomy of the planet... My fight. My art has always been focusing on condition of our globe and the condition of man. My critical photography is based on the anthropological research. I focus on exploring and interpreting the impact of: bio-science, unconscious, fears, morals, social situations, behaviors, habits, rituals, biological changes, the use of animals, depression in urban environments, destruction of the soil, overpopulation, deforestation, universal famine - over human life. As a result, I create the image of the 21 century and the image of our current society. In this way, by commenting behavior of human individuals, I want to indicate that: Man has completely devastated his planet. Man is imperfect. Man is a savage, greedy rebel of Nature, living between the insanity and lunacy, away from his true nature. Man lives in the play cage because he was captured by Illusions of this world: welfare tyranny, desire of possessing material things, great abyss of consumption, jealousy, hate... what all in all led him to the broken relationship with the globe and other 52

human beings. As a result he stresses the present process of dehumanization, mechanization and standardization of human race, false norms and illusive values that was given for the truth to the society by religion, governments, laws, propaganda, false mirror of the television...etc. In my opinion, nowadays it is essential to articulate this kind of behavior, because the way which the present world run, might guide the human species: firstly- into a total slavery, then to new nuclear era, and finally to the total extinction... There is a number of potential scenarios, but one of them is definitely Total Extinction... I admire the way of dadaism as well as surrealism. My spirit flies with counterculture and the idea of transgression. I regard my critical collages as the prediction of human degradation, and as a consequence – ‘Apocalypse’. We are surrounded by beautiful images in the advertisements (“photoshoped” models, new cars, shining teeth), but indeed it’s only a grotesque mask. Under this mask: there is several wars currently in

ph: Betsy VanLangen


ph-t: Betsy VanLangen

Me, myself and photography 57


ph-t: Veronica Lounge*

Love at first sight My first snapshots. My fascination with photography started by chance. In 2007 I owned a non-professional Olympus digicamera and used it just to capture some outfits and do snapshots. It was not even a hobby, because there were only 3 megapixels in it. But when I started to see good results, I decided to switch to a better camera, still not considering it more than just fun. At that point I didn’t know that I was getting a new profession from photography. From Saint-Petersburg to Finland… In 2008 I left my home city, Saint-Petersburg,and my now ex-boyfriend and came to Finland. There I took time to think about what to do next with my life and decided to study something that I would really like to know. I am a creative person so I picked options from photography to music, but photography was new to me and so I put it first on my wishlist.


Falling in love with photography. During this search for possibilities, I contacted the Institute of Visual Communication (, where later I started my professional photography studies. They called me back and I met a principal, who later became my best friend. I showed him my “works” and he took me to the new group started in December of 2008. I remember my first day there - more than 30 photographers who make their living by it, and me, who knew absolutely nothing. I was wondering, what am I doing there. But luckily I was a fast learner and, because of my ambitions and genuine drive to know everything, my interest soon started to pay off, and after a few months I was told that I already have my own style. Moreover, I knew from the beginning that I wanted to do fashion photography and focused on that. The more my technical skills were showing progress, the more I

Self-Portrait - ph: Girgenta

Become Image in Progress advisor! We asked Milanese photographer Girgenta* to recommend two photographers that she admires for the “artist diary” column of this issue of Image in Progress. Thanks to her we discovered Julia Krahn and Lilya Corneli, two romantic interpreters of contemporary photography, with an expressive language that is both deep and sophisticated. If you wish to recommend professionals that you think should be involved in our magazine, please write to:

*Angelica Burgio, better known as Girgenta, was born in 1980. Girgenta finished the master’s degree in Communication at University of Bologna in 2004. In the same year she moved to Milan where she specialized in Marketing and Communication, subsequently, in Photography. Girgenta is mainly interested in the art of self-portrait and in the portraiture. According to Girgenta, thanks to photography it’s possible to explore the body, the performative gesture and the theatre of interior monologues. Girgenta is also focused to study the projects of female photographers both of past and contemporary time. Currently Girgenta works in Milan as communication manager for a nonprofit organization. (coming soon) 67


Germini - ph: Lilya Corneli

ph-t: Lilya Corneli

Finding the “outhers” shooting self-portraits 69

Julia Krahn - ENGEL 05 - 84 cm x 84 cm framed - color print mounted on alluminium - white wooden frame - edition 3 - 2009/2011

ph-t: Julia Krahn*

Engel and Engelstueck Learning to fly. Engelstueck means “a piece of an angel”. “Piece” intended as a part of something, but also a theater “piece”. My work starts inside myself. It is a reflection of my internal feeling outside onto a film. The Engel and following Engelstueck I shot in 2008, when I was reflecting about the reality of the unreal in my life. 74

Energy that I feel but I can’t name. People often call me an angel. They say I am energy more than anything else. I say that we are all nothing more than this. It is about conception and understanding of duality in everything. In 2008 I started to shoot myself with the wings. To understand what they see and what I feel. I believe that I can fly.

Julia Krahn - ENGEL 10 - 84 cm x 84 cm framed - color print mounted on alluminium - white wooden frame - edition 3 - 2009/2011

On my birthday my then lover offered me a pair of huge wings. He had just told me some days before: “I am sorry; I offered you wings, but I know I am peeling off one feather after the other�. Some weeks later I got the material wings and decided to learn to fly. I got a ladder in the studio and started to learn to do it, like birds do. Reach an upper point and jump down opening my wings and trying to get the flow, falling down, touching the ground and then standing up to reach to top of the ladder again. When I shoot my pictures, especially the self-portraits, I prepare a kind of playground.

Some elements that are important for me in that situation and then I just start to perform to myself and shoot whatever happens. In this case the elements were the wings and myself. Also, I felt I would need claws to keep the contact with the earth, in the real sense of it, and in the metaphoric one to connect to the real. They came out long and strong, red, kind of aggressive and glued to my feet. It felt more secure now and painful at the same time when I touched the ground. I thought this is how it has or feel like to be an angel coming down to earth. I covered my body with white color. I often do the 75


ph: Jean François Lepage for It’s Rouge! Magazine - 2004 - Paris, France

ph: Jean François Lepage t: Anita Zechender

Shaking the soul

Interview with French artist Jean François Lepage, photographer of sophisticated and disquieting images, vestals of a mysterious surreality...

“King Kid” - ph: Zaolane



EXPERIMENT ph: Paola Guigou t: Emanuele Cucuzza

Eclectic Photography Specialization became a duty and a mark of professionalism but versatility is turning out to be a vital necessity in a world that is suffering from an identity crisis, and not just in economic terms. Focusing on the selected sector, language and techniques is becoming a privilege for the few while the ability to adapt to the different situations, as is typically the case, is becoming a key factor for survival. This can involve learning “to dance in the rain” without fear of storms. In itself, photography is a medium, nay a mirror to record and manipulate reality, which naturally lends itself to any field, including video. Thus, photographers too must learn to “outgrow” their comfort zone to keep apace. Being recognizable and having one’s own style can then become secondary, to make room for the ability to change approach and let creativity take over. Let the others find common areas, connect the dots in an increasingly disparate collection of works, projects, subjects, clients… If you readers want to participate in this experiment, try to look objectively at the next few pages, trying to discover common areas in the photos of Paola Guigou, whom we met in Paris during her exhibition for Fotofever at the Espace Pierre Cardin. With the help of the description of the backgrounds, you will find similarities even though the photos were shot with different collaborators, images that seem shot by male photographers and deeper and more feminine visions, improvised portraits and planned projects, ironic and dramatic images, untouched photos and images retouched with the addition of 3D elements…A fun, multi-faceted gallery founded on a mix of good taste, passion, research, inspiration, talent and most of all… enthusiasm! Enjoy the show!

“King Kid” (page n. 86) - “Go West Young Boy” (page n. 95) both from the series “Portrait d’Archives” by Zaolane “I did this series of 6 pictures in 2 days. I did not shoot that much because I knew very well what I wanted to do… Usually it is the preparation that takes a long time…” Exhibition: Salon Fotofever November 2011 Espace Pierre Cardin à Paris. Published on: Azart photo, April 2012 and La Lettre de la Photographie (web) Inspiration: “For this project I worked with Elizabeth Sillard (3D graphic) and Viviane Korkmaz (postproducer). We decided to focus on the Establishment as the main subject, producing some portraits with the aim of thinking about the bad sides and the trends of contemporary society. We got inspiration from the portrait painters of the 17th century, who were at the service of the aristocracy. As a sign we used, and we still use for commissioned works, a common name, Zaolane ( ), a mix of our names. Three in one!” Tools: Canon 5 D Mark II with 85 mm – studio flash Postproduction: “These images needed to include some 3d elements: the big bonbons and the Segway, which we did not really have available… All the clothes were real, as were the background and the actors…” All the images of the series Portraits d’Archives: 75x100 cm - inkjet on Baryta paper on dibond - American black wood frame - limited edition of 8 - 2000 euro.

Paola Guigou is a French freelance photographer based in Paris and specialized in portraits and mise en scene. She graduated from the “arts décoratifs” (Strasbourg, France) in 2006, and “Gobelins l’école de l’image” (Paris, France) in 2008. She is always looking for atypical models with strong personality. Inspired by painting, her pictures tell stories. She has been awarded the Broncolor prize (student competition about fashion) and first prize of CCIP in 2008. Exhibitions: Fotofever art fair, Paris, November 2011: “Portraits d’Archives” and “I wanna play toro”. w w w. p a o lagui 87

ph: Olivier Valsecchi


ph: Olivier Valsecchi 99

ph: Nick Brandt - Special thanks to: Hasted Kraeutler Gallery t: Claudio Rossetti, Valentina Nicole Scotti and Giulio Speranza - Grigio18%*



Wildebeest Arc, Masai Mara, 2006 - Š Nick Brandt, courtesy of Hasted Kraeutler Gallery, New York 107

“PHOTOGRAPHY ALLOWS YOU TO JUST GO OUT AND CREATE HOW YOU WANT, WHAT YOU WANT, WHEN YOU WANT. YOU’RE IN CONTROL OF YOUR LIFE. WHICH IS A DAMNED FINE PLACE TO BE.” THIS IS JUST ONE OF THE ANSWERS OF THE GREAT NICK BRANDT TO THE QUESTIONS BY CLAUDIO ROSSETTI, VALENTINA NICOLE SCOTTI AND GIULIO SPERANZA, MEMBERS OF THE GRIGIO 18% ASSOCIATION, A PARTNER OF IMAGE IN PROGRESS If you work in photography and you also have always dreamed to ask some specific questions to some of the best photographers in the world, contact us! Born and raised in England, Nick Brandt studied Painting, and then Film in London. He moved to America in 1992 and directed many award-winning music videos for artists like Michael Jackson (Earth Song, Stranger in Moscow, Cry), Jewel and Moby. It was while directing Earth Song, a music video for Michael Jackson, in Tanzania in 1995, that Nick fell in love with the animals and land of East Africa. Over the next few years, frustrated that he could not capture on film his feelings about animals, he began to realize that there was a way to achieve this through photography. In 2000, Nick embarked upon his ambitious photographic project: a trilogy of books to memorialize the vanishing natural grandeur of East Africa. The first two parts of the trilogy have been published in On This Earth (2005), A Shadow Falls (2009), and On This Earth, A Shadow Falls (2010, combining the best photos from the first 108

two books). Since 2004, Nick has had multiple solo exhibitions worldwide, including in New York, Los Angeles, London, Berlin, Sydney, Munich, Brussels, and Paris. Nick photographs on medium format black and white film without telephoto or zoom lenses. His work is a combination of wide-screen panoramas of animals within vast landscapes, and graphic portraits more akin to studio portraiture of human subjects from the early 20th Century, as if these animals were from a bygone era. In one of his books, Nick explains: “I’m not interested in creating work that is simply documentary or filled with action and drama, which has been the norm in the photography of animals in the wild. What I am interested in is showing the animals simply in the state of Being. In the state of Being before they no longer are. Before, in the wild at least, they cease to exist. 109

Elephant Drinking, Amboseli, 2007. Killed by Poachers, 2009 - © Nick Brandt, courtesy of Hasted Kraeutler Gallery, New York

*Claudio Rossetti, Valentina Nicole Scotti and Giulio Speranza, who advised us the questions for Nick Brandt’s interview, belong to the Grigio 18% Association, of which Image in Progress is media partner. Grigio 18% (Grey 18%) is a non-profit cultural association designed to bring people closer to the world of photography by organizing and promoting courses, exhibitions, films, educational initiati118

ves, field trips, technical nights, projects and events. Courses are held for beginners and for those who wish to hone their skills with advanced sessions and workshops. A long-standing tradition is that of the monthly photo field trips, where members meet and share their photographic knowledge in urban and naturalistic contexts. Over the past few years, the association has been

“Looking for the sun” - ph: Giulio Speranza @Grigio18%

undertaking socially-oriented projects, as with the 2010 photo report “Ritorno in Abruzzo” (“Return to Abruzzo”), where an 8-member photographer team documented after one year the consequences of the earthquake that devastated Abruzzo on April 6, 2009. All our activities are supported by a website, an information space open to members only. The website has always been a meeting place and a reference, thanks to initiatives such as the

“photo of the month” contest, the documentation of photo field trips, columns and the forum, which was inactive for a year, but is now back in business. 119

ph: Toby Burrows t: Valentina Volpini



“Watching” - “Fallen” series - by Toby Burrows - shot on Hasselbad H1/Leaf Aptus 75


ph: Jan Francis - hair/make-up: Davide Calcenai

ph: Jan Francis t: Miranda Janiak




ph: Richard Machado t: Valentina Volpini


ph-t: Chiara Ceci*





*Chiara Ceci was born in Rome and graduated in History of modern art from “La Sapienza” university of Rome, with a thesis on iconology and history of critique. She lived for several years in London, where she worked as a model for an important fashion agency, Profile Model Managment London. After this experience she decided to stand behind a camera and to start a career as a fashion photographer. Currently she lives and works between Rome and London. She published for national and international magazines, including Look magazine, Hacid Magazine, 2bemagazine, Positive Magazine, C&C magazine, Out magazine, Vanity .

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PH: FLOTOGRAPHY Corset Stylist’s Own Leggings American Apparel Bracelet BCBG Max Azria Eye Shield Stylist’s Own


fashion in progress Ph: Florence Leung - FLOTOGRAPHY - Model: Lisanne V. for Richard’s International Model Management Stylist: Yvadney Davis @ Judy Inc - Make-up Artist: Oz Zandiyeh using MAC Cosmetics - Hair Stylist: Eros Liu Stylist Assistant: Chelsea Clarke - Photographer Assistant: Frank Yeh

Shooting “Black Radiance” The story of the shooting for STATUS Magazine

The photographer Florence Leung also known as FLOTOGRAPHY

The Idea “I wanted to create a story that was powerful, bold yet elegant featuring futuristic elements. I chose a simple white background so it can emphasize the presence of the subject and her expressions, while also focusing on her unique wardrobe. I’ve always been inspired by strong and edgy concepts like this.” The Location “We shot this directly at the hair stylist’s home with a wide open living room space and a very high ceiling. All I needed to do was set up a white backdrop with my helpful assistant, Frank. It had all the amenities we needed plus plenty of comfy couches. It was a very lovely environment which made it more relaxing and comfortable for the whole team to shoot in at an easy, unpressured pace.” The Equipment “I shot these photos with Canon EF 24-70mm lens on my Canon Rebel XSI. We used a flash with a soft box as the main light. I wanted to give some dimension and add a gradient effect to the white background thus I pointed another flash at the bottom half of the backdrop, making it brighter from bottom to top.” The Team “It was a wonderful collaboration. I’ve worked with everyone in the team before so it felt very comfortable. Choosing the right stylist was important

because the wardrobe had to be unique for what I had in mind, thus I contacted Yvadney, the stylist. I knew she would be perfect for the job because I’ve worked with her in the past and she is capable of creating special and custom made garments by hand. Needless to say, she did an amazing job, exactly what I envisioned this shoot to be. I love a shoot that features wardrobe that is not easily found in any store, so it makes it interesting and special, something you cannot see someone wearing on the street nor in the mall. Oz, the make up artist, and Eros, the hairstylist, were both very talented in their specialized areas, they made the model look absolutely amazing, magnifying the strength of the model’s facial features and the overall power of the story. Lisanne, the model from Richard’s International Model Management was excellent for the role, her body movements and facial expressions showed power and passion. She followed directions well, portraying the subject of the story as envisioned: bold, powerful, and fierce intertwined with just the right touch of elegance.” The Publication “The photos were published on the cover of STATUS Magazine n. 10 with 14 page spread story inside (Pages 142-155). This magazine is distributed and sold all across Latin America. Moreover, with one of these images I’ve won “runner up” for “In the Studio” category in the prestigious annual Professional Photographer of the Year Awards 2011 with over 6300 entries (with another image of another shooting, I’ve also won “runner up” for “On Location” category – 2011).” The Challenge “The challenging part was mainly preparation for the shoot and planning on a date which works for everyone in the team. Another challenge was putting the bits and pieces together before and during the shoot, deciding on what the make up and hairstyle should look like, matching it with the theme of the shoot and the wardrobe selection. We had to make minor adjustments here and there, like enhancing the shape of the eyebrow and changing the hairstyle along the way to better suit the mood of the shoot. At the end, everything worked out perfectly.” 155

fashion in progress Ph: Marc Evans - Art director and stylist: Jaclyn Iavarone Make up & Hair Style: Rory Rice – Models: Vera and Svetlana @ Mp Modelmanagement Milan

Shooting “A modern Fairytale” The story of the shooting for Jaclyn Iavarone’s collection, inspired by Marchesa Luisa Casati’s style…

The Art Director and Stylist Jaclyn Iavarone The Styling “I recently completed my Masters at Polimoda Institute of Fashion Design and Marketing in Florence. My collection, here in this shooting, was inspired by Marchesa Luisa Casati and the essence that she embodied as an artistic muse. I utilized her eccentricity and love for all things extravagant when choosing my fabrics of alencon lace, Python skins and pvc transparent vinyl. My color story was directly inspired by two paintings of Luisa Casati by Giovanni Boldini. Combining the avant-garde Casati style with other concepts, such as optical illusions and the hourglass female silhouette, I realized my collection. The type of women that wears my clothing is confident and fearless. My clothes enable and empower women to radiate their inner light outwards and, in doing that, they give other people the permission to follow suit. As these women become liberated through my designs, they liberate everyone else around them. I hope that people see the beauty in what I create by choosing to wear my designs over those of such a saturated industry.” 160

The Editorial “I always have an idea of the mood I want to create while designing, so I feel that the photo shoot is a very important aspect within the creative process. I wanted the environment for the shoot to be unrecognizable, I envisioned my women existing in their own realm. Like my sketches, I pictured a tall, thin pale face with small lips and captivating eyes. Sunken in and dark, her hair frames her angular jaw line. Each curl is chaotic but controlled. Rory Rice executed the hair and makeup far beyond what I could have ever imagined. He incorporated lace of my clothing into the hair and perfectly placed pill box hats I created into his hair styling. After a few hours of hair and makeup, I found myself face to face with a living breathing, Marchesa Luisa Casati. Both models, Vera and Svetlana, brought such energy to the poses and my garments. They made my clothes come to life, whereas before I had only seen my garments lay lifeless on my mannequin. For the concept behind the shoot, I pictured an old run down city, with a silhouette appearing in the distance through all the decay and haze; her curves are sharp, you can make out a dark, yet distinctive hourglass shape. It is almost a sort of mirage because she looks superfemme. As she approaches closer you can feel how poised this women is. When we get close enough to her, we can make out the details and are immediately enthralled with her presence. It makes us ask ourselves “Who is she? Where did she come from? Where is she going?”. Immediately upon seeing Marc Evans’s images, I knew he was the man for the job. His way of capturing women through the lens makes each and everyone of them look like a goddess, and someone to be taken seriously. His artistic perspective of the female form goes hand in hand with my designs and I am so proud of the images that we, as a team, created together. Upon seeing the finished photos, I realized that all of my blood, sweat and tears have turned into a reality and my dreams have come true.” 161


Stylist / Giovanna Squizzato - dress / Elena Leone ceramic heart / CrĂŠte Piece Unique

fashion in progress Ph: Alfonso Papa - Shooting by Manuela Mezzetti Make-Up Artist: Nicoletta Conteduca - Hair Stylist: Giandonato Beato@Equipe Vittorio Models: Leo@freelancefashion model agency, Dora and Barbara@Collection model agency

The white voice of silence

White colour acts on your minds transmitting peacefulness, concentration, no words or noises and an atmosphere of peace: silence is a luxury. Silence as an inside rebellion, a lively silence full of expressivity white paint! After some inspections, we chose the photography studio Visual Pro, suggested by photographer Fabrizio Chyrek. It is divided into 2 floors so we got the way to manage more than one situation together and give maximum freedom of expression to everybody.”

The photographer Alfonso Papa

“I was thinking about a more creative shooting to feel free to express my own interpretation. I wanted to escape from the traditional fashion shooting to find something very gripping! When Manuela called me, she had just become the teacher of styling in the Moodart school of Verona and was organizing a project completely based on the white colour for her students. That enterprise immediately conquered me: working with new future stylists and their fresh ideas and cooperating with Manuela again seemed exciting to me, so we started the project called “The Voice Of White”. I used a Nikon D700 which is accurate and can give good performance in a total white ground with Bowens lights. The concept is the essence of the white colour and its meaning in our culture and background. The students associated the white colour to the silence that gives the chance to listen to sounds which often we don’t recognize. White becomes silence and a way to express something in conventional society, even anger. “ The Location “We needed a spacious location with a large makeup room but above all we needed a shower for the models, who would be completely covered with

The Team “Besides me, Manuela and the students there were the make-up artist Nicoletta Conteduca and her assistant Lara Ognibene as well as the hair stylist Giandonato from Equipe Vittorio. That day everything around us was white: clothes, objects and models’ skin and hair too! We had a good music selection and great energy! The creative experiment had a good result. We got the right feeling and worked with harmony.” The Equipment “I chose Nikon D700 which is accurate and can give good performance in a total white ground. The lights are Bowens.” The Challenge “When I met Manuela’s students, they told me exactly what they would like to communicate with their stylings. They had a clear conception of what they would like to convey. With all this enthusiasm and decision, I accepted this challenge: catch their creativity and find the meaning of their stylings with the right shot.” The Post-Production “I choose the shots expressing in the best way possible the concept of each student. My aim was to remove all excess shadows. In this way the image was totally plunged in white colour. Afterwards, I obtained this result by desaturating all the pictures.” 165


t: Laura Passerini

Temporary Museum for New Design a window on the future The Temporary Design Museum for New Design, the April exhibition held by Superstudio Più e Superstudio 13 and media-partnered by Image in Progress, was for the fourth year in a row the pulsating heart of the Tortona Design Week, the most captivating Fuori Salone event of the International Furniture Week in Milan with 200 designers, more than 100.000 visitors and 2.000 international journalists. The project, curated by Gisella Borioli, with Giulio Cappellini as art director, featured work by such design stars as Italo Rota (for Samsung), Giulio Cappellini (for Alcantara), Carlo Colombo (for Cristalplant), the brothers Fernando and Humberto Campana (for Cosentino), Oki Sato, for the Japanese firm of Nendo (Wallpaper and ElleDeco International award). The latter, in particular, staged “A Solo Show”, an all-glass and nearly “liquid” exhibition, “Still & Sparkling”, in cooperation with Lasvit. Young designers attracted a lot of attention, as 90 talents from all over the world (including the 24 winners of the Ilide contest) showed their creations in “Discovering, other talents, other worlds, other ideas”, an exhibition held in the 2000-m2 basement. Some of their products – those with the SuperstudioSelection label – were put directly for sale in the online market thanks to an agreement with the ecommerce web site Dalani ( ). Telling a Story. This year, under the original guiding theme “Telling a Story”, the Temporary Design Museum for New Design presented design as told by words, aphorisms, letterings of great architects and 168

intellectuals, to reflect and understand. Introduced with a graphic installation by artist Flavio Lucchini, the theme unfolded along thrilling sensory paths, parallel realities and augmented reality. Sci-fi sceneries that took visitors in the future of technology, in the homes of tomorrow… The list is really long and, as usual, it includes well-known names from all over the world (such as Thailand, Sweden, Poland, and Turkey… protagonists with collectives). Some Highlights. Canon participated with two installations that called to mind a mystic and conceptual forest in the large dedicated room (by Toshiki Kiriyama), a soft and engrossing space in which to rest by admiring the video installation by video-artist Yuri Ancarani for Alcantara (by Giulio Cappellini). A labyrinth of images, lights, sounds revealed the sources of inspiration for Foscarini (by Vicente Garcia Jimenez). In addition, there were holograms, plays of light and shadow for “White Air”, a Cristalplant & Poliform installation (by Carlo Colombo),with the results of the contest among designers born after 1972. With Diesel the home (designed in collaboration with Foscarini, Moroso and Scavolini) becomes causal and focused around the new “Social Kitchen”, perfect “party room” for your living space. A full immersion in creativity in a bathtub that is as comfy as an armchair while enveloping you in a soft foam in place of water: this is the idea by the Japanese company Lixil (by Kenya Hara), surrounding with books the most relaxing moment as if the bathroom were an innovative Zen library.

Life/Installed - ph: courtesy of Samsung


Books and Photography. Speaking of books on display at the new Temporary Shop Superstudiobookshop in the Window Gallery, thanks to a joint project by Silvana Editoriale, books of design, architecture, photography, art and image were for sale, or just available to be leafed through. And for those who were in the mood for a photo exhibition, the Milanese temple of photography did not disappoint them. “AbstrAct”, 30 images with details of design objects as abstract paintings, shot during the previous Design editions at Superstudio, by the photographer Giovanna Vitale of Milan’s School of Design. Ettore Sottsass. Superstudio paid homage to the unforgettable Ettore Sottsass – the great master of all generations, who revolutionized the design world with his Memphis – with “tu Sottsass,” a small exhibition of designs never published before, arranged by Fabrizio Sclavi, in collaboration with the M.A.T. association, with Milano Altri Talenti, on display in the windows facing the street at 27bis in via Tortona. A tablet as a window. As you know by now, the Temporary Design Museum for New Design, created to exhibit in an original way the projects of great companies and promising talents, following the successful concept “less fair more museum”, is a not-tobe-missed showcase not just for design but also to discover the world that lies ahead. A special mention should go to the incredible project “LIFE/INSTALLED, four minutes to think about the future”, developed by Samsung with renowned architect and designer Italo Rota, to unveil

the secret of the so-called augmented reality. Entry into a large, gray open space, divided in a hint of home areas/rooms was just the beginning of a surreal and unforgettable experience. Do you remember the “time travel helmet” in the movie Déjà-vu with Denzel Washington? A much less cumbersome tablet (the Galaxy Tab) here acted as a window on a virtual reality, “alive” with colors, sounds, people, furniture… A real injection of creative energy and curiosity for what we can expect for the future. Next year… As we were saying, the list of events and set-ups that deserve a visit is still very long and interesting. All you have to do is visit the next edition of the Temporary Design Museum for New Design. See you in Dubai and San Pietroburgo? The driver of the Temporary Design Museum for New Design is Superstudio Group, long a supporter of the most interesting and rich-in-content new initiatives. Recently, Superstudio Group started a promising cooperation project with Design Days Dubai, the main fair in the Middle East and southern Asia devoted to limited-edition design, but also a cooperation with the St. Petersburg Design Week - Time2design, prestigious event now in its second edition. For more information: 169

Location&More t: Mette Thyssen

Turning Torso, contemporary living Contemporary living is always associated with the pace set by globalization, hectic life and reduced leisure time for fun and play. The quality of life that people is seeking now cannot even be remotely compared to that sought a few years ago. As a result, new concepts of luxury and comfort are emerging and taken for granted. The same frenzy and even new technologies, which were created to speed up and improve work, are now part of our everyday life. From this new demands have sprung up in the way we spend our time at home or at the office. These new standards are exactly the pivot around which the Turning Torso has been built. This is a building 190 m. high designed by artist, sculptor and engineer Santiago Calatrava, for HSB Malmö, Sweden’s leading housing co-operative, founded in 1925 to provide sound, goodvalue housing through a combination of saving, building and property management activities. Located in the Western Harbor, an area by the sea within walking distance of the city center and the Ribersborg beach, the construction consists of nine cubes with five floors each. Adding to this the intermediate floors, the total comes to 54 floors. There are three high-speed elevators in the core of the building servicing the apartments. HSB Turning Torso has a sprinkler system installed in every room. There is a double water supply to the system and it also has its own emergency power supply. In addition to the elevators there is a staircase all the way up to the top floor. Each floor has ca 400 sq. m. of available space. This gives 147 apartments from cube three to nine. In principle, each floor consists of a square part around the core and a triangular part which is supported by an external steel structure. The entire construction twists 90 degrees on its way up. “It is an astonishing building which still amazes me. It changes when you look at it from different angles” said Santiago Calatrava, who found inspiration in the natural movements of a human body in a twisting motion. The structure in the vertical direction is composed of central core supported by a foundation slab and at the apex of each floor is a concrete column supported by a pile foundation. The horizontal structural elements consist of nine conical slabs wherein half the circumference of each slab


cantilevers from the core. The remaining triangular part of the slab is supported by the apex column and the central core. The five upper ‘normal’ slabs (in each cube) are supported by 11 structural steel columns located at the slab edge which then transfer the loads into the conical slab below. The concrete core is stiffened by an exoskeleton steel truss, which is erected on the outside of the building and exhibits the same torsional clockwise rotation like the building itself. The exoskeleton truss consists of a spine column at the tip of the floor plan and horizontal and diagonal truss elements that reach to each side of the fully glazed spine. In addition stabilizer elements connect between the floor slabs and the spine column. As a simplification, it can be stated that the concrete core can carry the total wind load without exoskeleton steel truss. However, the steel truss is active in certain wind directions and is designed to reduce wind displacements. Does the building sway? No, in case of a storm with a wind force of up to 44 m/s, the building will slowly move only a maximum of 30 cm at the top. The extensive reinforcement of the HSB Turning Torso ensures that the building moves with very slow acceleration and the slight movement is unlikely to be noticeable. All apartments are in sound class B, which guarantees a significant sound reduction, and have a fine view. From the top floor you can see Falsterbo to the south, Helsingborg to the north, Copenhagen to the west, and the plain of Skåne to the east. All rooms have windows which can be opened, all fitted with safety catches. Each apartment is equipped with an entry phone with connected video camera, cable TV, high-speed Internet connection and individual consumption monitoring equipment for hot water, heat and electricity. HSB Turning Torso is connected to Sydkraft’s system of 100 % locally renewable energy. The Swedish Samark Arkitektur & Design AB are responsible for the interior design, floor plans and the selection of materials. There are 33 different apartment designs, sizes vary between 45m and 190m. The living rooms are large and open, often with views in two directions. The impression of light and space is reinforced by the elevated ceiling in the living rooms, and by the door sections being extended

HSB Turning Torso, Ph Pierre Mens

Location&More 171


HSB Turning Torso, Ph Erland Andersson

to the ceiling. The entry hall benefits from a polished limestone floor from Jämtland in Northern Sweden. The same limestone is also used on all win dowsills. Organic waste will be ground in the kitchen waste disposal unit and transported through separate pipes for decomposition and biogas production. The rest of the waste will be sorted as usual in glass, metal, paper, etc. and recycled. The remaining waste will become energy for Malmö’s district heating. Turning Torso has a reception manned 24 hours a day by a concierge, who can book cultural events and entertainment, take delivery of ordered goods (incl. food items which need to be kept cold), handyman service. Adjacent to the building site there is an outdoor information center about Turning Torso and a directly bus stop. Next to it there is a parking space in the separate car park block, easily reachable through a private tunnel. In the same block are the storerooms. On the first floor, there are 8 fully equipped office modules that can be rented by the residents. Located on the 7th floor, the Private Function Suite for bigger receptions, functions, dinners and parties has seating capacity for up to 30 people. On the 43rd floor there are a gym, two 172

sauna sections, Jacuzzi, laundry room and three guest rooms with en suite shower and WC. Is not enough? On the 43rd and 49th floors (between cubes 7 and 8, and between cubes 8 and 9) is located the Panorama room, a large room with capacity for 20 people. To make HSB Turning Torso Meetings experience even more memorable, it’s possible to stay overnight in one of the beautiful Premium Suites on the 45th or 47th floor. On the two top floors 53rd and 54th, whose interiors are designed by Calatrava himself, HSB Turning Torso Meetings is creating attractive and inspiring meeting facilities. HSB Turning Torso Meetings protects the environment and work in accordance with the Swan label’s criteria for hotels in order to offer the clients an ecologically sound meeting environment. The Western Harbor also has a newly built beach. In order to minimize ecological impact in every way possible, HSB Turning Torso, the second tallest residential building in Europe, is “designed and built to meet the highest level of today’s environmental and comfort standards”. Who doesn’t agree?

Novel t: Anita Zechender*

Photos of a Soul Loneliness in the mirror The stars that you can see in New York are a reflection of lost souls, scattered in the hyperuranium of the ideas of those who come to see them. How beautiful this apartment is, as green as an unripe apple, made of colors that have left the 1970s behind and now, all dressed up, play the society game. At times elegance disappears, mixing up with a high-fashion lace, and loses sight of the soul. My soul is elegant but it is not dressed up, it is bare. I need to see my color, to grasp it in the simplicity of the world, to believe that it reaches across all cultures, times and religions. I want to recognize in my look the portrait of a lady of old. I pray. I often do, perhaps not the way it should be done but no matter, does anyone really know how to pray? I turn around and shoot a photo, which is inevitably black and white, carefully avoiding the limits, the walls, the ages seen by this apartment, which is so damn beautiful. I shoot the photo before a mirror and I only find me. Me and no one else. No one else is there. They are like ghosts at the end-of-the-century ball. The only image is the one that I imagine. Here is our loneliness, on that Art Deco mirror that calls to mind the Chrysler Building here in New York. Synthetic yet voluminously aerodynamic, turgid and opulent loneliness. Often I think that in this age loneliness must not just be felt, but it has to be depicted, to understand it, share it, to go down in history. Little bubbles like acidulous pieces of soap float in the air and they smell like the baby powder I used as a child. I ask Ethan to go out on the balcony to get some cold air. Buildings are much smaller seen from here, even though the many artificial lights are as decorative as the lights of that most beautiful of Christmas trees made by aunt Lò, back home in Italy. The lens of my mind narrows rapidly and captures the smell of a kiss on the lips. This little cold is suave, still livable, still very

CHAPTER 2 young. The window reflects not-very-sharp colors, like the threads of a slow, cracking fire, an intermittent music made of candles and frankincense. We get inside and dance a tango. The last one. We say bye to everyone and run barefooted on the sidewalk, what a sensation of cruel freedom. My 1930s style orange-and-black shoes hurt me so much, so Ethan decides to take off his, too. As we breeze through the Village someone looks at us and smiles; I will never see that smile again, so I took out my little camera, the one that I forgot the whole night, the one that never comes out of my bag when I am happy. Here is that look, now it is in my camera’s memory. Now it is with me. Living and being happy are one and the same. Maybe. When I live I am constantly shooting, when I am happy other people do it. Night in the sheets looks like a Chagall painting. My oneiric village looks like Muscovites fairy tales told by a violin. Ethan goes out at 7 a.m., an espresso cup in his hand, while Manhattan smokes by hiding among its roofs. I grab a pair of glasses and write. The telephone rings. Alex is a great friend of mine and an up-and-coming architect in the Big Apple. She wakes me up with her poetically aloof voice: “I have been asked whether you are interested in curating an exhibition at the Met; you will have to describe the Pathology of Space, and the title will be “The modern metropolis as deformation of the psychological and artistic Ego”. Suddenly, loneliness appears again in the mirror. “I am interested” is my answer. Happiness and serenity are not one and the same. Maybe. I put on a red coat and my hugs, and run down the iron stairs to go to an old library. It is 8:00 a.m. and the loneliness of space has yet to find me. 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. 175

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ph: Olivier Valsecchi -


Art in... dust!

Image in Progress N. 3  

Images and exclusive texts or exclusive interviews with: olivier valsecchi, guido argentini, nick brandt, jean françois lepage, toby burrows...

Image in Progress N. 3  

Images and exclusive texts or exclusive interviews with: olivier valsecchi, guido argentini, nick brandt, jean françois lepage, toby burrows...