Page 1



Colofon EDITOR IN CHIEF Attilio Brancaccio ART DIRECTOR & DESIGN Attilio Brancaccio EDITORS Agnese Roda Anna Kelhu BLOG EDITOR Monyart CONTRIBUTING FEATURES EDITOR Jenneke van Bakel Mark Janicello FEATURED PHOTOGRAPHERS

Lilith Love Attilio Brancaccio Fay Twan Tjoa Masha Ru Elisabete Maisao Teresa Visceglia Hannes Verstraete THANKS TO:

Sound made when transitioning from a sitting to a standing position. 4






P6 • LILITH LOVE • Cover Story

P56 • CLOSE INTO YOUR OWN • fashion editorial





P42 • the fine print• by Mark Janicello

P88 • TOUGH LOVE • fashion editorial

P46 • la vita liquida • by Teresa Visceglia

P94 • diane arbus- master of photography • art



cover story

lilith love My camera is my tool to tell my tales. I bumped into photography by accident. It could have been some other art form as well. As long as it assists me in expressing myself and making people think about things in life which often seem very logical but as often aren’t. Interview by: Monyart


AboveBoard • 2012


She is a storyteller with a passion for photography. Since 2006, her self-portraits have been telling us her stories. The recurring themes have been women, identity, female archetypes, gender bending and of course, life itself. But above all freedom and equality. What does photography mean to you? It means the world to me.

being. Every image is a step forward. Through my photography I rediscover faith in humanity.

works of art. And she dares to hope that one day she will get better.

How long have you worked as a photographer? About 6 years.

The first project is ‘Lilith in da House’. Selfportraits in strangers’ houses. The time for change had come. For my latest series of self-portraits home owners unknown to me have offered their houses as sets. After I contacted the newspapers, dozens of house owners offered their homes for my new selfportraits. I visited the houses, often without the presence of the owner, their faith in me shown by giving me their house keys and carte blanche to use the rooms as I wished. In both my life and my work I communicate with the things discovered around me, so in these new and strange sites the artistic possibilities explode with sometimes surprising results. My photography changes but still remains unmistakably ‘Lilith’. This is a project which I hope to extend even further by traveling abroad to use homes. The exhibition ‘Lilith in da House’ at the Eduard Planting Gallery in Amsterdam ended few days ago. (October 20th 2012).

There will be an exhibition as well as a photo art book, both with the same title: ‘Risja, a story by Lilith’. The intriguing (model) portraits and (documentary) photographs taken by Lilith are complemented by collages and works of art done by Risja. On November 15th, the first exhibition will open at “Het Huis voor de Kunsten Limburg” in Roermond (NL), before the start of a tour. The book presentation will take place on December 7th by Mrs Drs Hedy d’Ancona (who also has written a text for the book) at the Outsider Art Gallery, Amsterdam (NL).

How do you prepare for a photo shoot? I always work from my emotions, photographing myself, how I’m feeling that day. With full concentration, I do a little make up, visualize and search for/or create a background, create a little lighting (or not), think about clothes (or not), sometimes set up props. Then again, a little make up, some household stuff like emptying the dishwasher in between, a little lighting, etc.etc. The process is a mix of activities in no specific order. Then I start shooting and it feels like dancing to me. Being able to tell a story, to express my feelings, using my body language. Being alone while working is very important to me. What is your favorite image you have shot recently? I don’t have real favorites, because I see my work as an undivided whole. It’s my life, my diary, with beautiful and less beautiful days. Of course, on some occasions, I am more satisfied about a certain self-portrait than at another. But sometimes a self-portrait has to grow on a person to be appreciated. It’s a matter of time. This can work the other way round as well. What are you working on right now? Any future plans? Two projects. They have the theme of vulnerability in common. For me as an artist, vulnerability represents the ultimate goodness. My art, every single self-portrait, is a reconnoitering expedition to discover maximum delicacy carried by a human


The second project is ‘Risja, a story by Lilith’. At the beginning of 2012 Risja Steeghs contacted me. She and I started on a unique art project. (It proved to be the start of the foundation TeekOnMe.) The young Risja seems to have found herself playing a role in a surrealistic film. For the last few years she has been confined to bed with Lyme disease. She depends almost entirely on her parents’ care. A single tick bite has deprived her of most of her independence. Girl-Power and Happiness form the plot of Risja’s story, a tragic film? Absolutely not! In spite of her misfortune Risja is more positive in her - sick body than many others. She has a great affection for those around her and has a great love of art. Whenever her disability permits, she creates

Risja and I have one aim in mind: to draw attention to Lyme disease and to gather ways and means to enable research, which in turn can result in the improvement of methods for treating Lyme disease through international cooperation between doctors and scientists. Art is the vehicle of this ambition. If not a photographer, what would you have been? Many options here. My camera is my tool to tell my tales. I bumped into photography by accident. It could have been some other art form as well. As long as it assists me in expressing myself and making people think about things in life which often seem very logical but as often aren’t. More info about Lilith Love can be found on her website:

BunnyIn The Tub • 2012


Servant• 2012


Take These Broken Wings • 2012


A House Is Not A Home• 2012


Lumps • 2012

Queen bed • 2012


Divine Intervention • 2012


Icon • 2012


Libertad • 2012



Imaginary Spouse • 2012


Risja A Story By Lilith • 2012 Photo: Lex Hulscher


more photos, more news, mo



more stories ore about you!

to our blog|


ravage! HOOPDOOP meets

interview: Anna kelhu • photo: attilio brancaccio

make up:


ravage! 23

Ravage! Ravage! is a glossy goth synthpop group from the Netherlands, who eat glass candy and swing like Siouxsie. Frontman and songwriter Maarten fills us in on the details...” Tell us a bit about your background – how did Ravage! Ravage! come together? Originally, Ravage! Ravage! was just me, writing and recording songs in my bedroom studio. I had always written songs. Lyrics and melodies, which I would record on tapes. I never thought I would be able to turn them into proper songs myself, until a friend of mine introduced me to a software program called FastTracker. This opened up a whole new world for me. Not long thereafter, more advanced software programs entered my life, and I was finally able to actually record the songs I heard in my head. When MySpace got big, I decided to create an account, and present myself as a creature I wished I’d be: Ravage! Ravage! Within a couple of weeks, I got a message from


a party organizer in London, asking if I could do a performance there. I had never performed in my life, not even at primary school. A month or so later I made my live debut, at one of the most happening parties around at the time. After a few more solo gigs, I realized I needed a band to present my music the way I wanted to. I met my bass player, Maarten de Zwart, through mutual friends. His previous band had recently split up; the only synthpop band in the Netherlands I knew and still the only one to date that’s ever been around here, as far as I know. Our drummer Léonie de Hoog, we found on a “musicians wanted” message board, unromantically enough. Luckily, the three of us had an instant click. We have a sort of brothers/ sister relationship going on. Which bodes well for

the future, I think. What did you grow up listening to? For as long as I can remember, I have been listening to electronic pop music. I have a tape from my childhood, from when I was around 4, 5 y/o, which my father recorded from the radio for me, a collection of the songs I reacted to. Songs I already, phonetically of course, sang along to. They were mostly synthpop: Pet Shop Boys, Depeche Mode, New Order and eurodance. As long as it was catchy, synthy and preferably slightly dark. I still love everything I grew up listening to. Even stuff like Leila K’s “Open Sesame”. I still think that’s a classic. Only much later I got into “indie”, as late as long after leaving high school. I discovered The Smiths, my secondfavourite band, when I started working at a


record store, after I finished college. Shamefully I’d say. What are you projecting through scene is very well documented in photographs late, but what difference does it make? Better these images? What are the triangles but hardly on film. We do miss a lot of people; late than never. representing? it was a very last-minute thing, actually, even The song itself is about someone who’s really though luckily you cannot see that. Lots of people What – or who – inspires you to make into something for the right reasons but who couldn’t make it. And we shot it in one day, so we music? is surrounded by people who don’t get it really, didn’t have the time to shoot more people. I mostly get inspired by new music. I am a rabid but pretend that they do. Actually, we decided to follower of new bands, new scenes, new sounds. take the idea of being obsessed by something, The thing I loved most about the process of I think that’s what makes the Ravage! Ravage! when you totally surrender to something, making this video is an unintentional one: the sound: my love for early Eighties synthpop and when you’re completely in your own world, like day after the shoot I logged on to Facebook post-punk, that whole new wave thing, and for when you dream, or, I guess, when you do LSD and saw everyone who had attended the shoot everything that’s brand new. I’m one of those or something, and combine it with the harsh connecting with each other, writing sweet stuff obnoxious guys who say, “Oh, them? I knew digital sounds of the music itself. So you have on each other’s walls. Friends of mine from all them well before they released their first single.” the band as the humans who are obsessed, kinds of scenes whose paths had never crossed But I’m trying not to be too snobby about it. It placed in a digital landscape. It’s more like a before, finding each other, because our video had helps that I also genuinely love epic, over-the- cave than a universe, I’d say, but that’s open for brought them together. I thought that was so top pop music. Not just the obscure, underground interpretation. beautiful. In the end, those things matter more indie stuff. The triangles, or pyramids, are just some of the than any video could ever do.   many objects floating around. I can’t explain   I hear a lot of British influence in your why they’re there, maybe you should ask the What’s next for Ravage! Ravage!? sound… Is there any specific mood or Hopefully more music, more videos, more message you want to portray through “ I’m not intentionally trying to performances, more adventures. We would your songs? like to find our audience. I feel like we have I’m not intentionally trying to get one specific get one specific mood or message barely begun, hardly anyone actually knows mood or message across. I always try many about us yet. It’s hard to get out there when different things, but somehow it always ends across. I always try many you don’t fit in one specific scene, one genre. up a bit twisted and darker than what I was You can’t jump on anyone’s bandwagon. different things, but somehow originally aiming for. I wish we could be more We’re too pop for the “Subbacultcha!” scene, pop, more accessible. Even though it’s “not not gay enough for the gay scene, it always ends up a bit twisted we’re done”, to be mainstream. I wish we could we’re not gothic enough for the goth scene, have hit records and be on Top of the Pops and and darker than what I was we’re looked upon as being too hipster for in the Smash Hits and the Hitkrant, actually. the regular band scene and not hip enough But, well, Top of the Pops and Smash Hits originally aiming for.” for the hipsters - whoever they may be -, are long gone, and the days when boys who and of course we’re too electronic for the live wore eyeliner and extensions and sang about animator, Max Italiaander. I know it’s a hipster music scene but at the same time too rocky for underage rent-boys and stuff could have major thing at the moment but at the same time, the dance scene, et cetera et cetera. Do I sound hits are also at least two and a half decades in triangles have been around forever. It’s a nice slightly frustrated? Haha... Luckily, at the same the past. geometrical form, the triangle. I don’t mind time, it also means we can do anything we want, having them floating around me every now and which we do do. We play for all kinds of audiences People sometimes say to me, or write about me, then. and end up at the most unlikely places. But I do that I was born to the wrong time. I don’t think wish we had this hardcore following, that we so. I love the internet with all its opportunities, We’ve very recently released a new video, along could sometimes perform in front of a small but and all the new technology. But I do sometimes with a new EP, called “Trick Mirror”, which dedicated audience, who’s totally into us. That miss the romance of the pre-Google era. represents us more directly as a band. It features would be dreamlike. Let’s say that’s hopefully And if you read between the lines, you can tell a whole bunch of people we hang around with, what’s next for Ravage! Ravage! I have a weakness for the Brits, at least for the organize parties with and make stuff with. It way they treat music. They live and breathe might look staged, and of course the video itself music, and have such a rich legacy when it comes is staged, but it’s a pretty realistic image of a part to culture in general and music, specifically. The of the Amsterdam night life anno 2012, the part Netherlands is a traders country. Well, I could talk I feel comfortable living in. about this for hours...   I love the idea of it being a time capsule, to look Your video Blisters is pretty far out there back upon years from now and go, “Oh, do you – literally. An extra-terrestrial experience, remember her? And him!”. The whole nightlife




LOTTAROX AGENCY is a professional booking, event and promotion company based in London (UK), Florence (Italy) and Stockholm (Sweden) whose first aim is to introduce the best emergent and unsigned UK artists to the Italian Indie Market by booking the best Club Nights, In-Store shows and Exhibitions of the various countries it works in, soon in Amsterdam as well.

check out the roster and the info here :



This is a story of the meeting of two friends. The encounter of Fay Twan Tjoa and Barbara Wijnveld took place a couple of years ago when he was a student at the Photo Academy in Amsterdam. He wanted to photograph someone who is very good in expressing feelings in an artistic way. This is how the story begins: a photographer, a painter, a brush, and a camera. by: agnese roda make up:


“I like portraits, especially the ones which reveal an aspect of someone’s life. This is what I try to achieve in my photographs as well.” How you go about this is important. I try to get to know a person. I like working this way because it is part of who I am,” says Fay Twan, sitting in a café with his “muse” and me. Barbara is an established painter and known in both the Dutch and the international scene. She graduated from an Art Academy, attended an Art Master in New York and De Ateliers in Amsterdam. On her CV, a newspaper picture stands out with Barbara and the Dutch Queen, shot when she won the Royal Award for painting in 2004. I ask her why she chose to start a career as an artist, a painter, and she digs back to the beginning of her art path: “I started in Arnhem, with different media, video, sculpture, drawing and then I went to Groningen for my Master Degree. Later on, I moved to New York, then to Amsterdam, to the International Institute for young contemporary artist, De Ateliers, where artists such as Marlene Dumas and Steve Mc Queen were tutors. “As a young teenager I was a rebel, and I needed a goal, I loved drawing and being creative so I focused on going to the Art Academy in Arnhem, a big glass building I passed by often while going to high school. I wanted to feed my hunger for artistic skills and just said to myself: Start somewhere and something will follow.” We’re sitting together on a Tuesday night in one of the famous cafes of the Jordaan district in Amsterdam. Now Fay Twan transformed an initial model into a collaborator. Fay Twan and Barbara worked together this time. “I feel comfortable moving around and expressing myself. But I don’t like being photographed. I find it completely x intrusive. But Fay Twan and his camera were insisting. I just could not resist and cooperated. He smiles and replies, “It is nice to hear this; how someone perceives you and the way you work. It is beautiful when someone can be her or himself during a shoot. It makes it easier to reveal an aspect of what is going on inside that person.”   When exploring the methodology of working, a main aspect stands out: knowledge comes out of movement derived from daily actions, from a person, that usually only a friend could capture. “It begins with a reportage of several photos. Looking back, I observe movements, specific postures and what characteristic aspects stand out,” says Tjoa. “Now I have a starting point, I know what I want to tell and try to find a way to express this. Despite all the conversations and preparation, it is usually only during the shoot when there is a moment I get the feeling for how I want to express this.”   “I have a comparable attitude towards the canvas,” adds Barbara. “I start from one blank point, then adjust it, create development on the canvas like a problem to then find the solution. I break the idea, and finally produce something that has its own life. It is like raising a little child. You need to let it go somehow, to let it grow on its own. Then, if the work makes sense it is like a stable child. It creates its life. I work, I build and build the image, and then it goes on by itself. When I don’t know what to do I say, start, and you will find your way. I use any technique when I feel like it’s necessary.”   Barbara’s paintings are a combination of color, different materials, and shapes: layers, stripes, dripping. The inspiration comes from different fields. A picture is one of them, as is music and cinema.  “I treat material as a language, I don’t have a name or a technique for it. 31

Being an artist is maybe like being, a medical anatomist, a geneticist and an angel in one!” Barbara laughs. “I review material I start with, see the layers and the different parts as information, and as stuff to work with. If you try to see through the top layer of something, it can reveal another form inside.” When I ask them which artist influenced them the most, he replies with names such as Paul Graham, Vermeer and Amy Winehouse, because “in their art you can really see what people experience at a particular moment and I find this a central element in my works. I get inspired as well by all kinds of art, from paintings to dance and even music. Photography is then my medium to transform them.” Barbara mentions Stanley Kubrick as one of her main sources, “And I love old silent films,” she says. “I am interested in film because of the way it creates a story by cutting and mixing images. But there are many things that inspire me, I cannot mention them all,” says Barbara, “I enjoy watching homemade makeup tutorials on YouTube, videos of girls who put beautiful make-up on their faces in fast-forward with a matching tune. The camera as their mirror. Their free and enthusiastic way of sharing skills appeal to me. It’s the spirit of spreading inspiration that I relate to.” “I get inspired by music, but also reading is important to me, as it requires imagination to imagine things.” Do you work with photos? I ask her. “Yes, I am very interested in the construction of images and I’m always on the lookout for interesting pictures and take time to research well.”   As in all good interviews, interesting things pop up at last, when the artist is relaxed and when I feel I’ve also gotten to know them, I have the story and I love my job. I ask him, what is his perspective on this work. “Perspective, you leave it up to people,” says the photographer, “they see what they feel in your work, which can be different from what you have felt in the beginning.” “Last year I made a portrait of my mother. It was hanging in the Gemeente Museum in The Hague. A couple saw it there and bought it. Days later they sent me a picture of that photograph of my mother, hanging in their living room. Then I realised it wasn’t about my mother anymore, because people use their own references looking at the image.” “You can say what you want about your work, but in the end people experience what they see in it. And that is what stays.”

Upcoming project by Barbara WIJNVELD. . November 30, 2012- December 4, 2012 • Art Gent: YOUNG. Flanders Expo Ghent, Belgium. . January 3, 2013 until February 9, 2013 • Solo show at Galerie Bart Amsterdam • Opening Saturday January 5th from 4 to 7. Photo courtesy of Fay Twan Tjoa. • Paintings courtesy of Barbara Wijnveld. 32









eten met kwaliteit 41

MARK JANICELLO International Man of Mystery

the fine print



“Where are my glasses? I can’t read this damn thing!!” The slightly dotty, unhappily aging gentlemen (me) ruffles through all his desk drawers, and jacket pockets looking for his 5 Euro reading glasses. Not that he really needs glasses, because, if he really NEEDED glasses then he’d be wearing a Dolce and Gabbana model and not some dime-store special. “Jesus, Mary and Joseph, what is it with you people? Do you all do this on purpose???” The cause of his frantic search and emotional outburst?? – yet ANOTHER in a long line of ridiculous, unreadable, useless business cards.

read. “Do you want to have an exhibition?“ I asked her.


“Yes, of course.” she said.

After forty, lots of weird, unexpected and sometimes totally disgusting things happen to your body. Where you need hair -- (on your head) – it falls out. Where you would never want any hair (ears, upper arms or back) -- you get it. Your face finally decides that the earth does indeed have a gravitational pull and suddenly one morning you wake up and your cheeks are on your knees. Honestly, every morning I call my neighborhood priest and we conduct a small funeral service in front of my mirror and then bury my face.

“Then, how the F@#k do you expect me to contact you? What are you thinking?”

I was on a rampage now, “People who run art galleries, tend to be about my age. People who actually BUY art, also tend to be about my age. What you forget is that people about my age can’t really see anymore.

Even more noticable and humiliating however, is what happens to your eyes. I used to have superhuman, nearly x-ray vision, But now??? When I am tired, or if there’s not enough light, I CAN’T READ. Everything’s blurry. I run own two art galleries in the Netherlands, when I am not performing. Nearly every day, all these beautiful, care-free 20- and 30-year-old artists come into my art gallery, show me their work and then, before leaving, give me a business card... most of which are nearly unreadable. One lady photographer, (who shall remain nameless) didn’t even have her name on her business card, just a squiggly-looking thing that looked like it had sprung out of my mattress.. Then to add insult to injury, on the back of her business card in 5 pt, pink “Arial” lettertype, against a RED background she put her telephone number and e-mail address. Even with my glasses on it was nearly impossible for me to

“Wow, that’s heavy!” she squaked.

“I don’t know what you mean,” she countered. “Why would you print business cards, without your name on them and where your contact information is so small that it’s unreadable? The only thing on the front of the card is some kind of symbol. Who do you think you are, ‘The artist formerly known as Prince?’” I was in a huff. “Who’s that?” she said. “Really, I just was trying to be interesting.” she sheepishly answered. Now, I was furious. Not only could I not read her card, she did not know the musical genius of my generation – the Purple Prince of Minneapolis Funk. This meeting was heading south at warp speed, now. “Honey, (when I can’t remember a woman’s name, I always call them “Honey,”) your WORK needs to be interesting, not your business cards. Your business card needs to be clear and easy to follow, so that people like me can easily contact people like you.” “Yes but...” I continued, “All the artists in your generation seem to have had the same idiot teacher who told you all to make yourself impossible to find or contact – then you’ll be interesting. Sorry, you won’t be interesting, you’ll just be poor and

It’s a ‘no-brainer’, Honey.. Use letterype that people can read. Pur your name, telephone number, e-mail and website address on your business card. That’s what it’s for-- NOT to make artistic statements.” “Yes but, I think that EVERYTHING I do should make an artistic statement.” She said. “Sure, let your work be artistic, but let the man or woman on the other side of the desk in a gallery know that you also have a brain in your head for business, not just for making art. If I see a card like this, I immediately realize, “Art School Graduate – no experience, and no EARTHLY idea of what it takes to sell art or to make a living as an artist. Art Galleries exhibit your work. Nobody exhibits a business card (except a printer).” “Yeah, I, uh, never thought of it that way before,” she replied. I thought to myself “Duhhh...”


.c k o o aceb



g a m oop


d p o o m/h



teresa visceglia | LA VITA LIQUIDA |

What’s the reason you get interested in underwater photography? Amazement in the face of everyday life events and ordinary things is my favourite starting point. Moments of astonishment like the ones in dreams where beauty is often twisted by some weird feeling and when the Bad is unexpectedly whispering sweet nothings. Like no other, water is the place where I can find what I look for. Underwater the ordinary matches the extraordinary. Can you tell us something about the origin of the series La vita liquida? In spite of the physical effort, the fluctuation of the body into water is smoother, less mechanical. I’ve always been fascinated with that dreamy atmosphere: reflection on the skin, rays of light, water bubbles. I love the soft way submerged

bodies sway, stretch and bend but I started “La vita liquida” only two years ago though when I finally bought a waterproof camera. Why is everything in Black and White? Nothing new, I would say. Taking color off is like erasing most of the links between the image and its space time context. Then you can find out unique and outstanding human beings… without ID! How do you see yourself “as a photographer” 10 years from now? Photography is a work in progress. In the future I may be interested in something different but I know I will keep on trying new things out. Are you working in a new project right now? do you want to share it with our readers?

Interview by: MONYART


It’s been a few months now since I joined a group project. I was not behind it at the outset, I got involved in it and it drove me to focus on my work as I felt moved by the ongoing research and shared the aesthetic mood. The main theme of the study is the human body explored as a sensitive filter to show intimate perceptions and feelings. You can check out here the intent of the project It is open to everyone! my home-made website, in progress, of course.










Coming into her own The world can make one become someone the world wants to see. To detach herself from the outside appearances she has chosen to make an inner journey.. It’s all pretence. It’s a mask. She needs to go through a transformation, shed her ‘faux’ skin. She is breaking through, seeing the essence. She is coming into her own.

Photography: Attilio Brancaccio Styling: Sharon Geernaert Hair and make-up: Maikel van Lingen Model: Rabia 56


Hair sweater (Rietveld meets Koos via SPRMRKT), shorts (Individuals by AMFI), fur shawl (SPR+), hat (Phintage by helen yard), gloves (Tosca Blue), earring (Phintage by helen yard), bracelet (TOV Essentials)


Jumpsuit (Bravoure), saw necklace (Mimi et Toi via SPRMKT), arrow necklace (Mimi et Toi via SPRMRKT), shoes (Sacha), bracelet (Calvin Klein), square bracelets (H&M).




Dress (Individuals by AMFI)


Vest (SPR+), jeans (Avelon via SPRMRKT), shoes (Roberto Boticelli), body chain (Diabolo), helmet (via Individuals by AMFI)



Hat + feather skirt as necklace (Diabolo), necklace (Zara), skull earring (Betty Bogaers)



Fur Coat (Phintage by helen yard), shorts (Individuals by AMFI), shoes (Sacha), bracelet (Calvin Klein), armour ring (H&M), ring (Calvin Klein)



Knitted cardigan (SPR+), hooded top (AMFI Individuals), transparent leggings (Phintage by helen yard), shoes (AMFI Individuals), knitted shawl (SPR+), jersey scarf (H. N. Rogue via SPRMRKT), belt as necklace (Post & Co via SPRMRKT), necklace (Phintage by helen yard)


.c k o o aceb



g a m oop


d p o o m/h



masha ru photographer


Since childhood I have been following a dual path. Attending the technical classes of physics and programming, I have been strongly involved with theatre, literature and photography. At the end alongside with PhD in mathematics I graduated with honours in photography on the boundary of autonomous and fashion. In the PhD work I specialized in image analysis and nanotechnology. The experience of operating in the high-tech environment often comes back in my art projects. My work deals with duality in a sense of balancing or bringing together two or more different fields. In a way accessing duality is an attempt to cope with multi-layers in my personality. Diaries in one or another form often come up. They have played important role in my life since the age of ten. To me diaries provide a door to the particular points of time in the past and I believe that the diaries allow me to adjust these points, therefore adjusting the current moment (so-called Butterfly effect). I have discovered that by means of diaries it is also possible to operate with the future, as well as with the different levels of now. The way I work with them is based on the assumption that the whole world is the product of the human mind. Further, I often deal with personal stories, which sometimes intersect with the diaries. I convert these stories into the art products. The act of projecting intimacy into the public reminds me that the idea of privacy is just another illusion. The clothes (in a broader sense than just fashion) have always played an important role in my projects. Changing or putting off the clothes within a project stage influence the theme and the atmosphere, thus providing a flexible instrument for manipulation. During the photography education I have chosen direction fashion photography because it seemed the most difficult and even unnatural for me. I am not a fashion freak and I am strongly involved with anti-overconsumption ideas, such as free “give-away� clothes shops. At the same time I percept the field of fashion as a strong piece of energy, I need to use and transform within my projects. I see the models I work with as my projections. From time to time I use myself as a model, but working with somebody else allows me to have distance and a different control of the situation. At the moment I research on the possibility of bringing mathematics and photography together. This research contains practical and technical sides as well as psychological and spiritual aspects. In my future work I want to go on with bringing different fields into one, not only concerning mathematics and photography, but as well in a more global sense. For instance, exploring the relationship between nature and industrial society is important for me. I am interested in understanding the process by which living in the city generates the idea of possible outside. This theme came out in some of my projects, and I would like to work on it further.

stay tuned for our video interview with masha ru. Soon on line on 73






JEANIM HENGELMOLEN “...I already knew creating was my destiny early in life, when I was just a small kid.” Interview & Photo: Attilio Brancaccio



I get lots of inspiration by walking around second hand shops, going to museums, reading books about psychology, meeting people, listening to music, observing the society and walking in nature. Actually, even the smallest thing or emotion can be an inspiration for new work. Hello Jeanim, tell us a bit about yourself, when did you start your artistic career ? Well, actually I already knew creating was my destiny early in life, when I was just a small kid. My mother always called me by the nickname McGyver because I was always creating new things from stuff found in the streets. But, like many others, during puberty I let myself become influenced and, due to insecurities about my future, I decided to study economics and marketing. From thereon, I first took the chance to work in Hong Kong and travel all over the world over a period of about ten years, working as a product manager, arranging commercial productions for several brands, companies and designers. It was a great experience, but at a certain point I was moving towards a career as a manager and that was not where I wanted to go. In 2009, when a decision needed to be made to either continue my steady, good-money-career or to follow my heart, I chose to follow my heart. That was the moment when I started my creative multimedia journey by painting like crazy, designing, photographing and cooperating with other creative people.With a gathered portfolio I also enrolled into study industrial design at the Royal Academy of Art in The Hague. Your art varies from painting to visual installations and design, how do you approach these different disciplines and where do you look for inspirations?


I get lots of inspiration by walking around second hand shops, going to museums, reading books about psychology, meeting people, listening to music, observing the society and walking in nature. Actually, even the smallest thing or emotion can be an inspiration for new work. • How would you describe your style? I think one could describe it as “Unleashed inner nakedness”. In other words, completely letting go of everything that you are conditioned to follow without being afraid.   Recently you started a new artistic project called NO NEED FOR GLASSES. Can you tell us more about it? NO NEED FOR GLASSES is a project that started from a painting I made with a vision of sharing passion. It literally means: you don’t need glasses to feel passion. The project is about sharing passion with likeminded people.

written underneath it. I found out the name was still available. So I registered it and continued with organising the platform. Holland Handwork is a follow up on NO NEED FOR GLASSES and is about traditional and contemporary crafts by artist, designers and craftsmen. A platform about sharing passion for creation. The group expo will be featuring painting artists, product designers, craftsmen, fashion designers, photographers, film makers, musicians and dj’s, as well as performances, food, fun and more. December 1 will be the opening at Amsterdam Roest. All the participants will be announced in the coming period at www.hollandhandwork. com . The future plan is to continue sharing and enjoying the creative journey, wherever it may lead. Hope to see you at Amsterdam Roest!

In 2011 it resulted in a great group-expo at Amsterdam Roest, which combines art, design, fashion, music, photography, film and more. What are you working on right now?  Any future plans? Right now I’m working on a new groupexpo called Holland Handwork. During my explorations at second hand stores, out of my personal fascination for handcrafts, I discovered that most of the time if I paid attention to an inspiring creation, it had “Holland Handwork”







Farida Mashudi: Stylist Pascale Hoogstraate: Hair & MUA Hannes Verstraete: Photographer Andy Deglorie: Assistant Photographer Stephan Vermeulen: Male Model @ Jaimie Joanne van Duin: Female Model









DIANE ARBUS MASTER OF PHOTOGRAPHY BY Monyart (Monica Martino) “I came into the world at 1.30 am on Tuesday, March 14 1923. I was 9lb. baby, very large, rosy poly, blonde and blue eyes“. I’ve always wanted to see one of her picture. Diane Arbus is one of my favorite photographers. There is so much beauty and fear and ugliness on her pictures that fascinates as well as terrifies me. I had the opportunity (and the privilege) together with the other members of the press to see a preview of the exhibition a couple of days before it was open to the public. FOAM was very quiet, everybody after the press conference was pretty much in to the pictures, exactly like me. Walking through the rooms, starring at those images, it was emotional. In front of those masterpieces I just felt like a child. A frightened child. Photo: © Allan Arbus/The Estate of Diane Arbus, LLC. (Screen test of Diane Arbus made by Allan Arbus in c. 1949)

Even if she is my favorite photographer, I didn’t know how and why Diane Arbus chose the subjects of her pictures, so I bought a book, DIANE ARBUS - A CHRONOLOGY. I “consumed” it immediately. The following words are those that impressed me the most and that partly gave me an answer: “I think I must have been brought up to be a sort of magic mirror who reflects what anyone wants to believe because I can’t believe they believe it, like atlas holding up a bubble and groaning”. On the 26th of November the exhibition DIANE ARBUS started at FOAM in Amsterdam and will run until the 13th of January 2013. Don’t miss it!








Profile for hoopdoop