Visions Libres Screaming up to Life

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S N O I S i V M


The Art and Culture Magazine |


Screaming up to Life


Cover: Danielle van Zadelhoff / Back-Cover: Nick Gaetano

Visions Libres is an independent Contemporary Art- and Photography Magazine. e Magazine involves any kind of Art regardless of technique or period such as Illustration, Painting, Digital Art, Photography, Music and Literature. All Images and Text published in Visions Libres Magazine are the sole property of the published Authors and the subject copyright. No image or text can be reproduced, edited, copied or distributed without the express written permission of its legal owner. 2014 – 2016 ©Visions Libres Magazine / All rights reserved

LETTER from the editor »I am old but I am forever young at heart. We are always the same age inside. Know that you are the perfect age. Each year is special and precious, you can only live it once. Do not regret growing older, it's a privilege denied to many!« Richard Gere In theory, a year of human life is priceless. In reality, it’s worth $50,000. at’s the international standard most private and government-run health insurance plans worldwide use to determine whether to cover a new medical procedure. More simply, insurance companies calculate that to make a treatment worth its cost, it must guarantee one year of »quality life« for $50,000 or less. New research, however, would argue that that figure is far too low. Stanford economists have demonstrated that the average value of a year of quality human life is actually closer to about $129,000. e phrase »quality of life« is almost always controversial. e basic idea behind the concept of quality of life is that some characteristics of the person and his or her surrounding environment are better than others from the point of view of the human good or human flourishing. Nearly all the major thinkers of the Western tradition, from Plato and Aristotle through Jeremy Bentham, Immanuel Kant, John Stuart Mill, Karl Marx, Friedrich Nietzsche, and John Dewey have given their preferred accounts of the good or the best human life, as have the world’s great playwrights, poets, and novelists. In recent years the Nobel Prize–winning economist Amartya Sen has made important contributions to the topic. Nonetheless, no single account has ever won universal agreement. Many of these accounts overlap, however, and the outlines of at least three general orientations can be discerned. ese are: hedonic theories, rational preference theories, and theories of human flourishing. Despite its difficulty and frequent lack of clarity, the concept of quality of life seems to be an indispensable one, particularly in the domain of health care and social services. One can argue that the concept of quality of life should not be construed as a floor below which no significant societal expenditure of resources is required, and below which personal caregiving efforts may be reduced to the decent minimum. A much better way to think about quality of life is to see it as a ceiling, a potential level of functional capacity and capacity for relationship, toward which caregiving efforts should be designed to strive. e height of this ceiling will not be the same for everyone, and quality of life is not a test that you fail if you do not reach a certain height. But the important point is that quality of life should be used as a teleological concept – setting a goal to reach and a process to reach it, rather than as a prioritizing concept – setting a rank ordering for the allocation of scarce resources. Hedonic theories. Rational preference theories. eories of human flourishing. In conclusion, it is important to note that no one of these philosophical theories has completely carried the day among philosophers, and each of the three is still under development in the philosophical literature on quality of life. None of them offers a complete account; elements of all three are essential to cover the broad range of circumstances and individual needs pertinent to the issue of quality of life in an aging society.

Enjoy Life and »Visions Libres« Louisa Dawn

CONTENT FEATURES Marie Laigneau / »London Calling«


Deborah Roffel / »My Work is a Depiction of Reality as I perceive it«


Willem Wernsen / Book-Presentation »On Street Photography« 078_079 Danielle van Zadelhoff / »Blessing in Disguise«


Antonella Muscat meets Nigel Maudsley / »Abstractions of Dutch Masters« 108_119 Daniel Tjongari / »Struggle for Pleasure«


Emma Coyle / »My paintings embody the Power and Strength of Imagery«


SOUND CORNER ESÏOM / Electronic Songwriting »I’ve heard Silence«


POETRY DISTRICT Anna Kazmierczak with Photography by Deborah Roffel / »Screaming up to Life«


Mike Lee / »Aermath«


ARTLIFE Loïc Guston & Gallery Rastoll / »A visité a Paris«


Collaboration of ArtMeIn and Visions Libres Magazine / Exposition of the Winners of the 2nd Photo-Contest by ArtMeIn and Visions Libres Magazine


PARTICIPATING ARTISTS Alex de Groot: / Alexandra J. Braun:, / Albert Ayzenberg: / Andrea Eddem / / Anna Kazmierczak: /

Antoine Delsolit: / Anuschka Wenzlawski:, / Antonella Muscat: / Arek Rataj: / artMEin:, / Bárbara Traver:, / Beata-Katarzyna Przybylo: / Christine Gabler: / Claudia Griebl: / Claudia Pomowski: / Cyril Jayant: / Dai Ito:, / Daniel Tjongari:, / Danielle van Zadelhoff:, / Daša Ščuka: / Davide Capponi: / Deborah Roffel: / Diana Agata:, / Didier Mignon: / Dorota Hoffmann: / ESÏOM: / Edwige K. : / Egon Hungerbühler: / Elżbieta Kołakowska: / Emma Coyle: / Federica Corbelli: / Gallery Rastoll: / Gino Riego Esmeria: / Giorgio Sitta:, / Hakkan Lye: / Jack Savage:, / Jean-Louis Castaño: / Jenny Papalexandris:, / Jocelyn Collages: / Joe Josephs:, / Jos Tontlinger: / Juan Albillo:, / Kátia Lima: / Kazuyuki Shimokawa: / Kirby Canete: / Kordian Żarowski:, / Kureiji Jeyro: / Ladjo Persot: / Laurent Hette:, / Loïc Guston:, / Mai Saki: / Marie Laigneau: / Marie-Pierre Lambelin: / Mark Biwit: / Markus Lohoff:, / Martin Janssen: / Michele Ciriali: / Mike Lee: / Nick Gaetano:, / Nigel Maudsley: / Olga Karlovac: / Peder Aresvik: / Phil Mckay: / Sandra Sachsenhauser:, / Sookie Sirene Hannaas: / Sze Leung: / Tetsuya Fukui: / Thibault Morineau: / Valerie Simonnet: / Vuletin Ani: / Willem Wernsen:, / Xané Uçar: / Yolanda Girón Gutiérrez: /

Marie Laigneau


ree adjectives describing Marie Laigneau? Fearless. Dreamy. Relentless.

Who would you be and what would you do, if in your life there was not your photography? Imagining my life without photography is simply im possible – it has always been there, within me. For me, photography is a way to express my inner world, a way to convey my emotions and fantasies as I walk past my favorite cities. A world without photography would be a terribly sad world …

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any? I have had many happy moments over the last 3 years – from having my work published and exhibited, to leading my own street workshops and publishing my first eBook. But what I am most proud of is something else entirely, and has nothing to do with external achievements. My biggest success lies in my work itself, and the feeling that I move closer to my vision with every image I take. In other words, this is my personal evolution as an artist that makes feel complete.

Why do you do what you do? Why do I do street photography? Because I love the unexpected, the moment when all elements come together to create new meaning and stories. Photography, and street photography, provides me with an opportunity to capture images that I could not have possibly imagined before. is moment when you know that everything will work together to tell a story more interesting and compelling than reality itself – this is what I am looking for. is is what keeps me going …



What equipment do you use? I use a Leica M 240 with a 35mm Summicron ASPH lens. I have fallen in love with Leica over a year ago, and I simply can’t use anymore any other camera.

How do you work? Very simply. I go out, I keep walking, I look everywhere for opportunities, and I shoot a lot. I keep my mind as open as possible, as if I was alone discovering entirely new worlds, and I let my intuition do all the work – I call this mindfulness. I literally never stop for more than two minutes anywhere as I tend to become easily bored. Besides, who knows how many other opportunities lie ahead of me?

What’s your background? I have no artistic background per se, but I have always loved art, especially cinema and photography. I studied business and management in a French business school, and thereaer became a digital strategy consultant. My life as a photographer started a few years aer that, in Chicago, as I realized that I could see stories everywhere around me. at’s when everything changed for me.

What’s integral to the work of an artist? Looking within oneself. What really differentiates my work as a photographer and as a strategy consultant is just this – the need to constantly connect with myself to fuel my imagination and creativity. It’s not an easy or painless process, far from that, and it oen comes with terrible questions and doubts. But no matter what, I believe that our true potential as an artist lies within ourselves, and therefore we need to explore this world, as dark or threatening as it may be.



What role does the artist have in society? I wonder. is is a question that has been debated since the beginning of times, but I’ll go with Kant on this one. To me, art is beauty, and beauty reveals itself universally through the work of artists. is is really the highest purpose of art for me: not changing how one acts, thinks or believes, but bringing unaltered beauty to a world looking for deeper meaning and purpose.

What’s your favorite art work? Hum … I cannot choose. ere are too many photographers, poets, writers and cinema directors that I adore to find one favorite art piece.



Describe a real-life situation that inspired you? I tend to live in my dreams and fantasies really, as far as photography is concerned. My inspiration is not tied to external events – in fact, they have little impact on my photography, or me as an artist.

What jobs have you done before working as artist? I worked, and still work, as a strategy consultant within a digital agency. In other words, I help big companies define how digital can drive value for their business and customers, and what they should do in the next few years to make it happen. It sounds very different from photography, but I love solving strategic problems. So it’s a perfect match for me.

What is an artistic outlook on life? Of course, I can only speak for myself, but I would say that life is never static for an artist. Life is a maze of possibilities, of potential outcomes, of self-defining prophecies. We are in constant motion, testing new grounds, expanding our frontiers, exploring new realities. is constant motion is frightening but also truly exciting. Nothing can stop us from becoming the person that we are meant to be – but it’s a never-ending quest!


What memorable responses have you had to your work? Sometimes, people establish strong connections with my images, and this is always surprising to me how an image can talk in so many different ways to people, bringing back forgotten memories and feelings to life. Once, someone said to me: “Your images are so much more than photography. It is life itself – unsettling, emotional, and magical.” I was deeply moved by this comment.


Is the artistic life lonely? It definitely is – creation is a very lonely act in and by itself. When I go out in the streets to shoot, I can’t easily integrate others in this process. I am in my own world, faced with my own fantasies. Yet we can’t stay alone forever. While the act of creating is a very lonely one, I need others to establish the value of what I create, as art cannot exist in a vacuum. And in that sense, I need ongoing feedback and interactions with the community to move forward and continuously improve.


What do you do to counteract it? Exchange with other photographers is fundamental to me. I very much enjoy social interactions with some photographers that I truly respect and admire, whether virtually or in real life…And some of them have become good friends of mine over time. I also like to mentor other photographers via my FB communities or through my workshops. It gives a deeper meaning to my work, and also helps me learn a lot about myself through others.

Should art be funded? I don’t believe that art should be funded by governments, no. If we look at the fact, it would simply be a tax on the poor to subsidize hobbies most enjoyed by the rich. So, I don’t think this is the most efficient funding mechanism. Encouraging donations and establishing different price schemes that allows access to art to everyone would be most preferable in my opinion.

What makes you angry? People using social media to attack others in all impunity, viciously, knowing that they can and will hurt you. at really makes me angry and sad at the same time, to see people criticizing not only my work, but everything I stand for. I can understand differences of opinion, and I accept it, but sometimes the level of aggression is extreme and very upsetting … to the point that I wonder what motivates such responses.

What research do you do? I have started two years ago to explore storytelling and composition in street photography – trying to identify patterns in my work and that of others that would explain why certain images work and not others. Notably, I have explored key topics in my work around the use of light, angles and viewpoints, as well as the concept of tension in photographic images, trying to identify the relationship between composition choices and impact on the viewers. All my research can be found in my eBook and on my blog, and, very soon, in my second eBook.


What superpower would you have and why? I would love to be able to teletransport myself from a city to another. is would be my dream power I guess, as I would be able to walk across all cities in the world at once, whenever I like, and wherever my fantasy takes me. is would be amazing!

Name something you love, and why. I love the amazing creativity and endless imagination that I see among contemporary street photographers. ere’s so much talent out there, it’s sometimes dizzying, but it’s also highly motivating to see that we all aim to stretch the boundaries of a genre established so long ago. I like to feel that I am part of this myself, that I can contribute in some (limited) ways.

Name something you don’t love, and why. I hate people telling me what to do, when it comes to photography. People who want to establish rules and guidelines for everything, who want to force you to abide to their little, narrow-minded vision of the world. It’s especially true for street photography, where trends and rules – do and don’t – tend to stifle creativity among young photographers I think.

What is your dream project? I would love to organize an exhibition in London or in Europe, just like I did in the USA. I have been too busy since my move to London to initiate this project, but this is what I’d like to do in the longer-term.


What’s the best piece of advice you’ve been given? Someone once told me that my vision was my own and my own only. Aer this day, I stopped worrying if I didn’t follow the rules of photography, and I stopped wondering why it was still making sense to me. Believing in oneself and trusting one’s vision is probably the most important piece of advice that I would give again. It was so liberating. I felt that I could achieve anything.

Finally, what are your next projects? Next year, I will attend 2 photography conferences by Out Of Chicago – one in Chicago and one in New York, where I will give workshops and talks about street photography. I plan to organize also new workshops in London when spring comes. And finally, I am also going to publish my second eBook on storytelling in street photography, so stay posted!

For further contact: 30/31


Photography by Richard Forestier / Headdress and Make-up by Jane Brizard

Contact and Booking: Facebook : Soundcloud : Youtube : 32/33

DISCOGRAPHY »I’ve Heard Silence« EP

Photography by Eyal Dayan (Yanshuf Studio)

As his main influence, Victor Moïse aka Esïom, has been listening to experimental artists of theWarp records label, such as Aphex Twin or Boards of Canada. Encouraged by his brother, electronic musician and sound engineer, he is quickly brought to explore synthesis and electronic devices. In 2011, he decided to create his own project. At this time alone to bring life to his ideas, Esïom started by singing and playing every single deviceand instruments of his songs. erefore, cello, piano, guitar, glockenspiel, sequencers, modular synthetisers and sound of every kind fill his bedroom during recording sessions. All those quirky arrangements raise a melody embodied by his intense and raw voice. Indeed, Esïom composes around melody, when it helps to make hear innovatives musical ideas. So he takes into both concrete and electronic music to shape an experimental pop, both instinctive and complex, in the same way as artists like Bjö rk, Beck or Radiohead. Regarding the words, they are indissociable from the sounds surrounding them, thus metaphors and sonorous collages mix themselves or poetically contradict in an abstract intimacy. Esïom is currently in Berlin working on a new five tracks Ep. With his latest »I’ve Heard Silence Ep« he give us two ethereals tracks, where the production maturity sounds like a beautiful promise on the work in progress! On stage with the violist Udi Berner, Esïom changes into an intimist duet where both musiciansexchange instruments and devices to play electronic live and bring life to productions. Alto and voice, fragile and deep, vibrate from the same strings, bringing the audience in a modern picture, mixing electronic with acoustic, noise with melody.

Photography by Jean-Baptiste Brutelle

French electronic music label »Banzaï Lab« has discovered the project with enthusiasm and has programed them at the »I-Boat« and »Rocher de Palmer« of Bordeaux and at the »Petit Bain« of Paris. Today in Berlin, they played at Zwischenraum Festival and you can hear them in many of the atypical places of the city.



LoÏc GusTon & GaLLery rasToLL

Né en 1960, Loïc GUSTON pratique la photographie depuis ses années d’études universitaires et artistiques. Il est devenu professeur d’art et un photographe qui s’intéresse particulièrement à l’architecture et au paysage urbain. Il introduira progressivement une dimension sensible et psychologique dans les lieux photographiés. Loïc Guston travaille non pas avec une mais des lumières. Sa prédilection pour le noir et blanc est un choix esthétique qui s’accorde avec le rôle mémoriel de la photographie. Il est pour lui une source d’inspiration et de création. Ce regard sur un environnement changeant dans un univers intemporel est celui d’un auteur.

Loïc Guston was born in 1960 and has been experimenting with cameras since his art student years. He has become an art teacher and a photographer with a keen interest in architecture and urban landscapes. His style gradually evolved infusing the places photographed with sensibility and a psychological dimension. Loïc Guston works with not one but several lights. His preference for black and white is an aesthetic choice consistent with photography's role as a memory keeper. Black and white guides him in his artistic and creative work. His look at a changing environment in a timeless universe is that of an author. Text and Photography ©Loïc Guston


série enTre-deux Ces plantes ne sont pas photographiées dans leur milieu naturel mais dans un environnement urbain. Entre le visible et l’invisible, entre le réel et l’imaginaire, c’est d’abord un monde fantastique et poétique qui s’offre au regard. C’est également la traduction de la destruction annoncée des serres de ce jardin botanique parisien. Avec elles et de cette façon, c’est la disparition d’un patrimoine qui s’exprime.

série »in-BeTween« e plants are not photographed in their natural environment but in an urban setting. Between visible and invisible, reality and imagination, the viewer first sets eyes on a fantasy world. e photographs also translate the foretold destruction of the glasshouses of the Parisian botanical garden, and with them, the disappearance of a valuable heritage.

Loïc’s works were exhibited at Barrobjectif photojournalism festival in 2013 and 2014. He also took part to the rencontres d'arles and rencontres des Photographes d'aquitaine exhibitions in 2014. in 2015 he presented his work for the salon Photographique de la côte d'argent at the in)(between and rastoll galleries. His work was also published in 2010 and 2012 for the world Photography contest organised by French photography magazine Photo. e “silence” series was published in L'oeil de la Photographie, and the “entre-deux” (“in between”) series appeared in camera magazine.. 36/37


LoÏc GusTon & GaLLery rasToLL

Les œuvres de Loïc ont été présentées au festival de photo reportage BarrObjectif en 2013 et 2014. Il a aussi participé aux Rencontres d’Arles et aux Rencontres des Photographes d’Aquitaine en 2014. En 2015 il a exposé au Salon Photographique de la Côte d’Argent, dans les galeries in)(between et Rastoll à Paris. Parutions en 2010 et 2012 pour le concours mondial de photographie organisé par la revue Photo. La série »Le Silence« a été publiée par le magazine l'Œil De La Photographie. Elle a aussi été remarquées par la Revue Camera avec la série »Entre-deux«.


LoÏc GusTon & GaLLery rasToLL GaLerie rasToLL

aBouT THe GaLLery

Au 16 rue Sainte Anastase 75003 Paris, dans le Haut Marais, à deux pas du Musée Picasso dans le quartier des galeries, la Galerie Rastoll vous propose une sélection d'artistes, auteurs photographes mais aussi céramistes. Vous pourrez découvrir au travers des différentes expositions la diversité de la génération émergente ou découvrir les talents de demain.

e Gallery rasToLL is located at 16, rue sainte anastase in Paris, near the Picasso's museum. is young gallery has opened in september 2015 by François rasToLL. He invites you to discover exhibitions of emerging artists, talented photographers and great ceramists.

François Rastoll est le directeur de la galerie. Il est aussi collectionneur d'art averti, auteur photographe et peintre depuis son plus jeune âge. Son regard éclairé sur le marché de l'art en fait un référent pour beaucoup de collectionneurs qui lui confient depuis plusieurs années la gestion de la composition de leurs collections d'œuvres.

François rasToLL who’s director of this gallery, is an expert and art collector. He is also an artist since his youth. He provides advices to many collectors with a profound knowledge of the art market.

conTacT: 38/39

François rasToLL: »Quand j’ai découvert le travail sur papier de Loïc en janvier 2015, la galerie telle qu'elle est aujourd'hui n'était encore qu'un projet mais sa capacité d'auteur m'a immédiatement poussé à lui proposer de travailler sur une exposition personnelle. Je lui ai dit je ne sais pas quand, ni où, ni comment mais je le ferai. Ils sont rares les artistes auteurs capables de vous raconter une histoire tout en vous laissant l'opportunité de créer la vôtre. En réalisant la scénographie de l'exposition »REMINISCENCE« en octobre 2015, j’ai eu le sentiment que quelque chose d'autre venait de commencer. Quelque chose que je ne pouvais moi-même créer mais quelque chose que chacun pouvait s’approprier.«

François rasToLL “when i stumbled upon Loïc’s paper photography work in January 2015, the gallery as it is today was still but a project, yet his writing talent immediately led me to offer him to work on a personal exhibition. i told him i did not yet know when, where nor how, but i would definitely exhibit his work. ere are very few artist authors capable of telling you a story while letting you imagine your own. while designing the layout for the exhibition “reMiniscence” (in october 2015) i felt that something else had just begun, something i myself couldn't create but which everyone could make their own.”


LoÏc GusTon & GaLLery rasToLL

série Le siLence On peut lire le mot »silence« sur un panneau placé à l’entrée d’Oradour-sur-Glane. Il traduit un état émotionnel sur ce que fut le martyr de sa population le 10 juin 1944. Les vestiges ont la force du drame et de l’évidence. Ce qui est aujourd’hui ressenti dans ce mémorial s’exprime au-delà des mots. L’image suffit pour exprimer ce qu’il y a à montrer du passé et à démontrer du présent. Robert DELPIRE disait très justement : »Moi, ce qui me plaît dans une photographie, c’est le silence«.


series »siLence« a sign at the entrance to oradour-sur-Glane reads the word “silence”, translating an emotional response to the massacre of the village’s population on June 10th, 1944. e ruins cast strong and dramatic shadows. what one feels today in the memorial is rendered beyond words. image alone is apt to express what needs to be shown from the past and demonstrated from the present. robert deLPire rightly said: “what i like about photographs is silence.”


By sookie sirene



by Hakkan Lye

by Hakkan Lye

by WiLLem Wernsen

by Hakkan Lye


by Hakkan Lye

by DiDier mignon

by Hakkan Lye

by DiDier mignon


by Hakkan Lye

by yoLanDa gir贸n guti茅rrez

PHotograPHy by CHristine gabLer

by egon Hungerb端HLer

by egon Hungerb端HLer 50/51

by Juan aLbiLLo

by DiDier mignon


by beata-katarzyna PrzybyLo

by miCHeLe CiriaLi

Poetry District anna H. LuCy kazmierCzak PHotograPHy by DeboraH roFFeL

»SCREAMING UP TO LIFE« DeDiCateD to WiLLiam Feagin anD His son Logan



ow great would it be to finally find the purpose, see it, experience it, finally feel it while starting every new day of your life. Wouldn’t it be marvelous to wake up

next to it– like it was the most romantic lover from your dreams

moDeL: evgeniy LevCHenko

who promised you to never leave you, till your very last breath? e truth is that you are not alone in your constant search for purpose. all the people in the world look for it in all possible ways. is is where all religions and philosophical schools come from . e need for finding the meaning in our life - becomes our driving force and shelter in our long process through the many different phases, from the childhood onwards. sadly enough our life isn’t always about roses and sometimes it may treats us unkind – checking with unhidden curiosity how much more we still can take. During these moments we feel endangered, like we were refugees and asylum seekers who are never welcomed and don’t belong anywhere. is is when we are screaming silently – sending out different signs to the surrounding world, hoping that there will be at least one soul who will hear us and give us a helping hand. e most of us has asked ourselves at least once during our lifetime the most important questions such as ‘Why am i here, what am i supposed to do in my life, what is my true dedication?’, ‘is there any divine power over me that rules the world?’. How many times have we been screaming up to life – asking for a clue, for an advice that will help us to use the given time and all the chances properly? Whatever we do and wherever we are – we must always pay attention to one crucial factor in all of our pursuits. e time. We can’t figure out why – but the older we get – the more the time seems to speed up, like a galloping wild horse. ere is one more thing that does worry us. namely the specific role fulfilled by the time. it is an emperor who usually sets his expectations high and does not seem to care if we can follow, if we are already on a right track. i don’t think there is anybody out there who would refuse to learn about his or her mission on this planet. in our way to ‘enlightenment’ that does not know accept any shortcuts – we keep trying hard, we stumble and fall, making all possible mistakes – in order to draw our conclusions and make things better. in all the trouble we go through the inner voice – tells us not to give up. so we listen, raise up and try again. in fact this inner voice isn’t

»Faith has been broken, tears must be cried Let’s do some living after we die« Wild Horses, The Rolling Stones

our invention. it belongs to of our forefathers and foremothers who survived wars, revolutions and all other dangers. ey knew that you, the child of the future that is worth all the efforts. even ‘the wild horses’ from the rolling’s stones most beautiful ballad – ‘could not drag them away’ from keeping their heads above the water for you. ey knew they must do their best – because you deserved it.

Continue reading on the next page. ➢

Poetry District anna H. LuCy kazmierCzak PHotograPHy by DeboraH roFFeL »I watched you suffer a dull aching pain Now you decided to show me the same No sweeping exits or offstage lines Could make me feel bitter or treat you unkind«

However, not all of you realize that in fact – that purpose you so

e fact that you are alive is a result of efforts and struggles of all

badly and desperately long for has been there with you all the way.

the previous generations before you. your strong and courageous

it is you who has been chosen from the billions of possible

ancestors knew no fear- and wanted this world to carry you, as a

combinations of genes when your life was created. your ears and your hands have evolved in your mother’s womb from only few

part of them in the future. “Not only have you been lucky enough to be attached since time

tiny cells to become a part a perfectly working organism. e

immemorial to a favored evolutionary line, but you have also been

‘miracle of love’ that annie Lennox was beautifully singing about

extremely- make that miraculously- fortunate in your personal an-

in the song from 1986, gave a form to the timbre of your voice

cestry. Consider the fact that for 3.8 billion years, a period of time

and your eye-lashes. Without asking you for a permission, your

older than the Earth's mountains and rivers and oceans, everyone

Dna has been chosen to survive while other has been ruthlessly

of your forbears on both sides has been attractive enough to find a

rejected in the process governed by the laws of the nature.

mate, healthy enough to reproduce, and sufficiently blessed by fate

isn’t that enough reason to be certain – that there must be

and circumstances to live long enough to do so. Not one of your per-

a purpose in your existence? at you did not appear here by

tinent ancestors was squashed, devoured, drowned, starved, stran-

accident? so now ask yourself – what is that you are really

ded, stuck fast, untimely wounded, or otherwise deflected from it's

looking for. Why are you screaming up to life when you’ve been

life quest of delivering a tiny charge of genetic material to the right

listened to long before your mouth could speak?

partner at the right moment in order to perpetuate the only possible

Anna H. Lucy Kazmierczak is a Polish poet. Born in 1985 in Ostrow Wielkopolski, Poland Anna started to write poetry as a teenager. In 2003 while a high-school student, Anna’s poems were twice published in Cogito, the biggest educational magazine of Poland. She was subsequently awarded two literary prizes in the Paper oughts poetry competition organised by the Ostrow Wielkopolski Cultural Center Poland. Since September 2015 Anna has written exclusively for VLM. Her poetry and prose is inspired by the work of contemporary visual artists.According to Anna the goal of literature is to unfold the »bare truth« behind the most common dilemmas of being. Further contact: 56/57

sequence of hereditary combinations that could result – eventually, astoundingly, and all to briefly – in you.” Bill Bryson, ‘A short story of nearly everything’ so here you are – with all that’s beautiful in you and all your weaknesses, doubts and struggles, perfect in your imperfection. regardless of what is the current level of your self-esteem and what you think of yourself right now – you were, you are and you’ll be the purpose. you’ve been loved by life long before you learned the meaning of the word ‘love’. it is life that embraced you through your mothers caring hands when you were a little baby. it was life that welcomed you when you first saw the light, from your very first breath and scream. one day you will understand that life is a wild horse that you never had to tame because it has always been your closest, most gentle and faithful friend.

Deborah Roffel


CONTACT: 58/59

e beauty of the tension between the static and the dynamic. Fascinated by the scale of movements created in a fraction of a second I am always looking for the “perfect moment”, I choose to let myself be overwhelmed by man and his environment, how they both tend to intertwine at times, moreover the strength which the human body exerts. My work depicts these fractions in which the body bends and stretches itself; this characterizes the essence of my work. ese movements which are portrayed in my photographs are brought to existence with the utmost care and precision, they are based on poses obtained from my work as a sports photographer and thus not in any way created with the help of computers.

Furthermore I play with sexuality, distortion, movements, intimacy, freedom and body language, these are themes which have a recurrent role in my photographs. With the use of befitting elements such as costume and location, I try to create an environment with which I can capture and enhance the essence of a pose, drawing the viewer to the movement of the body. ese frames are created while playing with a variety of poses and using the lines of my surroundings. I challenge myself trying to find the balance between the static and the dynamic, which are sometimes brought to existence by the boundaries I am faced with, finally searching for that perfect moment in which everything comes into place. My work is a depiction of reality as I perceive it. Constantly asking myself not only the question what do I see, but moreover what image lies deeper, I tend to engross myself with the picture before me looking for friction, distortion and movement, using Photography as a method with which I can portray my own reality.








BY EDWIGE K. 70/71










Photo: Lieve de Bleeckere

Willem Wernsen »I TRIED TO CAPTURE A PARTICULAR SETTING IN SUCH A WAY THAT ONE PERSON, WELL COMPOSED IN A FABULOUSLY LIT ENVIRONMENT, BECAME THE NARRATIVE OF THE STORY« ON STREET PHOTOGRAPHY Making Extraordinary Photographs of Ordinary Life by Willem Wernsen If “taking it to the streets” has you confused over which way to point your camera, you could run yourself ragged, trying to figure out how to create images like the ones that inspired you to try street photography in the first place. You could continue to struggle, wondering why moments you thought would be great just … aren’t quite there. Or, you can learn how to create in-demand images, even if the only person demanding them? Is you. Good street photography is more than lucky snapshots; there’s a science to the art of creating photos that make you stop and linger, your eyes wandering over the scene. With over 35 years of experience and a compelling portfolio, professional photographer Willem Wernsen explains his process in easy-to-understand terms that will make you want to grab your camera and hit the streets with knowledge and confidence to create storytelling candids and portraits. is 110-page eBook outlines the importance of storytelling and finding ways of connecting to help you tell those stories, how to approach people, compositions, framing, equipment, and post-processing. is book summarizes the fundamentals of street photography, as illustrated by Willem’s widely-acclaimed photographs, and includes interviews with veteran street photographers Peter Van Tuijl and Marco Bastmeijer.


For further Contact and informations:


Danielle van ZaDelhoff

contact: 80/81

ree adjectives describing Danielle van Zadelhoff? Serious. Sensitive. Mysterious.


Why do you do what you do? i feel that i must express myself to know who i am.

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any? for me what is so wonderful is to be able to touch other people with what touched me also. for example i showed one of my photographs on a fair and a man started to cry.


How do you work? i work very instinctively, i look for someone who gives me a special feeling and then i try to catch her / his spirit. i use simple clothes and fabrics and i want to pass on the emotion in the photo.

What equipment do you use? nikkon D800.

What’s your background? i am born in the netherlands and live in Belgium.


What’s integral to the work of an artist? î ˘e artist as a human being as a thinking and intellectual person and most of all the artist as a witness of the perceived reality of our world.

What memorable responses have you had to your work? all the responses which were constructive and useful which helped me think about my art and my way to see.


What role does the artist have in society? to make other people more conscious and to let people see different and other facets of live an other way the complexity of life and to enlarge the publics’ vision.

What’s your favorite art work? e Madonna from Jean fouquet.

Describe a real-life situation that inspired you? for me when real emotions are showed and especially very small emotions who show the inner life.

What jobs have you done before working as artist? i renovated medieval buildings.

What is an artistic outlook on life? to be open minded and free of al influence except the one of life itself.

Is the artistic life lonely? not for me , it brings me so many dierent kind of relationships.


Should art be funded? art must be seen, and if funding is required to support art then it is needed.

What makes you angry? any kind of lack of respect makes me angry.

What research do you do? i analyze my feelings, i think a lot and i observe people very attentively, peoples behaviors and expressions.

What superpower would you have and why? i would to have power to mean fast.

Name something you love, and why. vulnerability (innocence) because it,s precious and elusive.

Name something you don’t love, and why. violence because i love people and life.

What is your dream project? for me it,s a dream to make photo,s that are remarkable.


What’s the best piece of advice you’ve been given? an advice how to use light: »ink there is only one sun«. 94/95

Finally, what are your next projects? Stay tune soon you will see!


By alBert ayZenBerg

By clauDia grieBl

By BรกrBara traver


By Jack Savage




BY KIRBY CANETE »All of a sudden a static ... then transmission lost« Mad Artist Diary








Antonella Muscat meets

Nigel Maudsley


ANTONELLA MUSCAT »I’m a Maltese beauty and fashion photographer who moved to the UK ten years ago. My work is influenced by fashion photographers as diverse as Edward Steichen and Bob Carlos Clarke or Annie Liebowitz but also from Baroque period paintings in churches of my native land as well as my own life experience. I’m self taught and have no formal art background. In my photography I seek to create work that is mostly in-camera, with retouching as an adjunct and a variety of lighting sources and techniques. I’m as excited by the technical component of image capture as much as planning shoots with creative collaborators, the interaction of the team during the shooting and as well as finalising the image during post processing. I also place importance on researching the subject matter carefully as part of my work. I’m currently one of a number of Maltese artists and creatives represented in the Malta Showcase 2016.« Contact:

NIGEL MAUDSLEY »I am a Brighton based free-lance photographer whose work engages in genres such as portraiture, landscape, abstraction and short experimental films. I am driven by my creativity and question social norms and perception of reality. A fascination with the sea informs my current practice. Its brooding force produces dark and haunting imagery with a sense of mystery both visually and conceptually. Photography is my passion. It makes me see the special in the everyday. Digital techniques have broadened my palette. Adjustments to tonal values and subtle variations in light and shade give the work depth and a unique visual language. Fun is an important part of the creative process. I take an idea and play with it. I am oen surprised by the results a and devolop my ideas new projects. My creativity defines my life, gives it meaning and purpose.« Contact:

ANTONELLA MUSCAT »Dutch Master I« 110/111








BY NIGEL MAUDSLEY »In my Arms« 116/117







BY GIORGIO SITTA »Ghost dance«

BY GIORGIO SITTA »Queen of nothing« Castel Savoia, Gressoney Saint Jean, Italian Alps

BY GIORGIO SITTA »e vanishing«

by Martin Janssen


by Markus Lohoff

by aLexandra J. braun 124/125

by khai »Untitled« byart federica corbeLLi

by cLaudia PoMowski 126/127

by federica corbeLLi

by Mark biwit


by PhiL Mckay

by antoine deLsoLit

Photography by Mike Lee


Poetry District 130/131

Mike Lee

in the snow there isn’t a way to move much without boots, so i returned to the apartment to switch to the battered, stained pair i kept beside the bed. sliding them on, and double lacing i recalled i bought them the winter before i filed for divorce. it had been seven years since, therefore time for a new pair. i did not want anything from before i served the longsince-becoming ex-wife, having spent the intervening years since she removed herself from the apartment methodically getting rid of everything that had been hers – ours. e vast majority of her belongings went in four trips in the first six months: two small moves by her siblings, and two major truck loads i took responsibility for. rew out a lot of stuff in the meantime, junk, detritus she le behind, like old clothes she did not want, single earrings, a broken television set and some old furniture she did not want. of course, boxes of photographs. ose went downstairs for the porters to cart away the first christmas eve without her. as time passed, i would find certain items, such as a butcher knife one day, a picture frame in a closet, glassware, some old letters stuck as place marks in books, and an occasional book or stranded item, le behind. when i came upon them, i threw these unpleasant discoveries into the trash, or carefully wrapped up for recycling. it took several years to do, but the last to go was a cheap gray plastic tool box a brother-in-law passed down to her before we married. at was three years ago. aer that, i began shedding things she gave me. e ring i threw off the brooklyn bridge; silver celtic coil spinning, unwinding into the murky waters of the east river below. whenever i had the money for new clothes, they replaced what she bought for me and those went to Goodwill or buffalo exchange. e cards, letters, gis, both personal and holiday and wedding, from and regarding her and us filled small trash bags and exited the apartment. some were missed, most not. is process took only a few months. once of these misbegotten items made their absence, i worked on certain purchases i made during the marriage that i no longer

wanted, or needed. i had sold most i what i had to help cover the expenses of divorcing her, so there was not all that much. it didn’t take too long for that particular purge, and it was relatively easy. stuff is just stuff, quoting a friend at the time, and i replaced my stuff with better things and an improved attitude about life. felt liberated, released, and had to admit i was so wrapped up in the relationship that i realized i had missed out on a life. new york, america, the world had changed, and i never truly noticed. it was a jarring revelation – this was an epiphany unwanted but had to accept. i had aged, but in the process gained wisdom and a sense of peace from the entire experience. Lessons learned are always the hardest when it comes to uncoupling, especially aer so many years together failing at keeping it going and ending badly as it did, but the education was valuable now that i have moved on from it all as blocks of memory shred and crumble into half-formed memories i rapidly replace with new and superior ones. as for those memories: what i kept with me was of a tarot reading i did shortly aer we got married. nearly every card was ill-defined. so i braced myself for the obvious, lied to myself for a few years, and endured the remainder. i have fragments of good times, but mostly i just recalled the screwed-up expression on her face as she was about to begin screaming at me. years of therapy helped some, but those visions are hard to erase. yet i kept these boots. once laced i went out into the snow, trudging toward the subway station, rubber heels worn, and treads fading, scuffed and dirty. while waiting for the train i resolved to buy a new pair aer work and thus complete the circle to five minutes before i met her. twenty years lost in a marriage contract i should never have entered into, but a life regained, i suppose, once that agreement was officially dissolved. as the stations passed by i remembered what i told her: “when it ends, it ends.” us, it shall be aer a trip to foot Locker and me dropping a pair of battered old boots set beside a homeless guy shivering on a street corner. a good deed of any sort sets the desired closure, and i never liked these boots anyway. rather hated them. ●

Mike Lee is a writer and photographer based in New York City and Managing Editor of Public Employee Press, the voice of District Council 37, AFSCME. Previous publications include e Ampersand Review, Paraphilia, Sensitive Skin, Glossolalia and e Potomac Journal. His stories are also featured in several anthologies, including Forbidden Acts (Avon) and Pawn of Chaos (White Wolf). A collection of photos, Le miroir invisible (e Invisible Mirror), was published by the French publisher Corridor Elephant. His photography is featured in ArtPhotoFeature Magazine, Aspect: Ratio, Black & White in Color Magazine, Visions Libres, VL Editions / All Your Ambition, SHOT! Magazine, Inspired Eye and in the books Black and White Street Photography, World Street Photography (Kujaja Press, Austria). Web:

by cLaudia PoMowski 132/133

by nick Gaetano

by nick Gaetano 134/135

by arek rataJ

by Jenny PaPaLexandris


by niGeL MaudsLey

by Laurent hette

by niGeL MaudsLey


by Jos tondLinGer

by antoine deLsoLit


by VaLerie siMonnet


by tetsuya fukui

by kazuyuki shiMokawa


by sandra sachsenhauser

by kazuyuki shiMokawa


by sandra sachsenhauser


by Jack saVaGe

by PhiL Mckay

by PhiL Mckay


by sandra sachsenhauser

by Jack saVaGe

by dorota hoffMann


by aLexandra J. braun


BY EDWIGE K 154/155








by Olga KarlOvac

by Sze leung

by Kรกtia liMa

by Marie-Pierre laMbelin


by JOcelyn cOllageS »Love-Life«


by JOcelyn cOllageS »Flower-Life«


by JOcelyn cOllageS »Dancing-Life«

by DOrOta HOffMann 166/167

by Daša ščuKa

by Diana agata


by Jean-lOuiS caSta単O

by cyril Jayant


by Diana agata

by anuScHKa WenzlaWSKi


by egOn Hungerb端Hler

by valerie SiMOnnet


by KOrDian ŻarOWSKi


by KureiJi JeyrO

by KOrDian ŻarOWSKi


by anuScHKa WenzlaWSKi


by Kordian ŻarowsKi by yolanda Girón Gutiérrez

by Peder aresviK


by Kureiji jeyro

by Xané uc ̧ ar

by Xané uc ̧ ar


by anuschKa wenzlawsKi


by Peder aresviK

byjenny PaPaleXandris

by elŻbieta KołaKowsKa

by dai ito

byeGon hunGerb端hler


by yolanda Gir贸n Guti茅rrez

by dai ito


by vuletin ani

by GiusePPe lama

by laurent hette »Gone«


by aleX de Groot AndrĂŠ, 1998, Screaming for life,

by aleX de Groot AndrĂŠ,, 2010 he committed suicide with a gun ... 192/193

by andrea eddem

selection of the

WINNER-PHOTOS of the contest

Every 2 months – we will publish in Visions Libres Magazine the most interesting and thrilling Art and Photography uploaded and exposed on the Webpage 15 selected Photographs of artMEin will be exposed on 2 Doublepages in Visions Libres Magazine mentions the Artist / Photographer.

»Screaming up to life« ©angie sterio 194/195

»Glace à l’italienne« ©laurent collier

»Screaming up to life« ©joshua sarinana

»Artist« ©willem wernsen

»Le Voyage« ©vincent l’hostis

»Il volo« ©laura barchi »Inle Lake« ©jacques szymanski

»Shoes tossing« ©colette richard

»Doggy« ©mai saki

»Fragments de vies« ©vincent l’hostis

»La Diagonale du Fou« ©eric forey 196/197

»Maelstrom« ©chris tuff

»Art forms« ©remi martin

»Ritratto di Famiglia« ©francesco d'alonzo

»Joie« ©remi martin

WINNER-PHOTOS artmein / visions libres

struggle for pleasure Photography by Daniel Tjongari 198/199

î‚ťree adjectives describing Daniel? Calm, emotional, silent.

Who would you be and what would you do, if in your life there was not your photography? With the ones I love, like my family

What were the most important moment of your artistic experience, the biggest success and the toughest defeat if any ? from my experience the most important thing is when I can describe the situation around into an image in photography in dierent forms according to what feels without changing the elements. success for me is when other people can see art that I created and they can feel the way I feel. î ˘e defeat is when I can not portray my imagination.

Why do you do what you do? Because I can feel it.


What equipment do you use? Canon 5D MK II and Canon 60D with 17-40 Lens F4/L and 70-20 Lens F4/L

How do you work? Sometimes to make mood in my photography I used long exposure technic. And I always used photoshop in the end but just only for enhanced my photography no to change every element in my picture. Creating a real picture becomes unreal in his camera this is what he love about photography. Always imagine what I want to say in each of the pictures.


Bromo Mountain

Tell us about an usual day in your life. Your motivation and your approaches onto your photography. When you have a broken heart. Its hear so stupid but its a real life that could happen to everyone included me.

What’s your background? first time I studied at the university of surabaya – Indonesia and then I learnt photography at Malaysia.


What role does the artist have in society? as inspiration for other people.

What’s your favorite art work? ansel adam and Michael Kenna.

Describe a real-life situation that inspired you? In landscape I very like to shoot what is not commonly for other people. It is very interesting to make an unusual location become something interesting in art. In conceptual photography I’m interestde in listening the stories from other people, from thats story sometimes can become an idea for me, it can be from a broken heart story or from their poem ...


What jobs have you done before working as artist? Just as a staff in other company.

What is an artistic outlook on life? life is full of art, art itself will make us different ways of thinking so that in every difficulty we face. and through an art capable of making us able to respond with something more beautiful. What are the most beautiful thing is when every aspect in life can we pour it into an art.

What memorable responses have you had to your work? I never thinking about how other people responding in my art work. let it be just the way they are ...

What food, drink, song inspires you? I like hear song, and when I taking a photograph I like to hear some instrumental melody.


Is the artistic life lonely? What do you do to counteract it? Not every artist life lonely but sometimes we need a time to thinking about art. silence is the best way to make art become life and touching. art is a widely aspect in a life what is the the purpose for art we created is the important thing.

Should art be funded? Yes for some project thats can make loudly the world especially in humanity photography.

What makes you angry? people who never learn but to much talking about photography.

What superpower would you have and why? I can fly to everywhere, because I very like to shoot mountain and beach so if I can fly, I will go around the world to collect all mountain and beach in my photography.


Name something you love, and why. Calmness ... Because love should make other people calm.

What is your dream project? taking picture in Mount everest


What’s the best piece of advice you’ve been given? photography is about imagination, emotion and trying to put a little of your soul into every picture you take. It really doesn’t matter what gear you have. I believe We all experience life from our own perspective and we are each the combination of our emotional experiences. is means that no two people will emotionally experience the world in the same way. It is always interesting to see how your audience responds to your images, but you should always stay true to your own imagination and soul. to tell your own story … 214/215

Finally, what are your next projects? portrait about people & mountain around my country Indonesia.

For further contact and informations:

Emma Coyle

»My paintings eMbody the power and strength of iMagery. « 216/217

i have always produced strong imagery working from a fine art background. i am constantly collecting images from publications, whether i am working on an on-going series of paintings or not. i carefully select and group images together to start working on a series of drawings. i work with groups of drawings for months at a time to manipulate the image, and then continue through to painting. Mixing colours of paint is very important to the progress of each art work. i mix my paints in tubes that i have used for many years which contain le over paint from one art work to the next. as i work on each image i minimise details and line. i am very interested in abstraction, strength from line work and composition. although my paintings are more commonly compared to pop art because of my use of a black line, it is in fact a style inspired by the drawings of picasso and Matisse, whose use of strong line work was extremely expressionistic. My use of strong colours does however comes from my love of pop art and coloured glass. from my experiences from living in dublin, new york City and now being based in London, it has given me the opportunity to find out what medium’s and themes that i am most passionate about. i have found that using acrylic {which is quick drying} on board, allows me to work on numerous paintings without breaking my focus. i use large size boards to embrace the strong colours and line throughout my work. e flatness of the board adds to the sharpness of the imagery, a light wash of varnish then covers the painting to further enhance the image, finally the painting is framed. rough my style of painting i mirror the present and reflect on past art movement’s. My paintings embody the power and strength of imagery. in the past i have created series’ of paintings dealing with Japanese advertisements of the 1920’s, silver screen film still’s and fashion photography of the 1960’s. over the last 9 years my work has evolved with the use of contemporary images, and i wish to further progress my work by expanding the size of my paintings even further. My paintings have been compared to many different art genres, from realist to pop art, fashion illustration and even art deco. i am currently working on a new Untitled series, using themes such as fashion and seduction. i see myself developing my work through the variety of images that i am using. My current work deals with present day imagery from fashion photography to advertisements. e thought of portraying the perception of society’s moral has always been an ongoing theme throughout my working progress. i have an interest in contemporary artists such as Mel ramos, Miles aldrige, tim walker, richard phillips, dale Chihuly and Julian opie. Visiting exhibitions in galleries and museums which deal with contemporary art, fashion design, past art movements and cultural history is very important to the production of my work. i find that it allows me to focus on the importance of working with different themes, and always to push the boundaries of my comfort zone.


emma Coyle has been exhibiting regularly since graduating with a b.a degree in fine art from the national College of art, dublin ireland, in 2003. she has contributed work to many exhibitions in europe and america, and has exhibited in nyC charity events alongside artists such as Jeff Koons, yoko ono, ed ruscha, Kiki smith and renowned composer philip glass. while living in dublin ireland Coyle exhibited in the tramyard gallery, the oisin gallery, exhibited for the irish national portrait exhibition in 2005, and exhibited for charities in the royal hibernian academy and adam’s fine art auctioneers. before moving to London in 2006 Coyle had solo exhibitions in the signal art centre in Co. wicklow and the bank of irelands art centre in dublin city, and was said to be ‘one of the cities most promising new artist’ {Metro Life news paper- January 2006}, and a ‘rising young artist’ {irish independent- May 2006}.


since moving to London, Coyle has exhibited in numerous galleries and art fairs throughout the city, including a solo show in Mayfair and exhibiting in the prestigious Mall gallery. her work has appeared in e times sunday styLe supplement, Level25 art journal in arizona america and in Kapa magazine - the sunday magazine of greece's most prestigious newspaper, Kathimerini. she has also been selected by Los angeles curator bridget Carron for her collection power pop on saatchi’ online gallery in 2014. Coyle’ work has more recently featured in the Mayfair times february 2015 edition, in the art journal sachet Mixte women: Volume six July 2015 and in the august edition of avari art magazine in washington america. while exhibiting in London, Coyle has expanded her audience by exhibiting in Los angeles, and in several galleries in new york City, where her work has been positively received. she is represented by degree art, e stow away gallery, e Marylebone gallery and saatchi art in London. Contact:

Further Contact and Submissions:

by aLexandra J. braUn




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