Page 1

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3


5


7

Kennedy James - Ishi


Arnaud Cohen - Mickeynocchio


9


T

he modern Little Red Riding Hood, reared on singing commercials, has no objection to being eaten by the wolf. Marshall McLuhan

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< Vincent Petitpierre - Cagoule


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15

Jason DeMarte - Fingers


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Jason DeMarte - Fried Doe


No Fracking Toxic circles, undrinkable water issuing forth from blackened vessels, do not approach or touch. X marks the spot for contamination, X for forever gone, X for what we have allowed to happen. No Fracking is a visual statement warning of the potential and irrevocable contamination of our water supply by the toxic effects of the horizontal fracturing of the United Statesâ&#x20AC;&#x2122; shale formations. Over 750 toxic chemicals are used to extract natural gas from the shale. This industry is highly unregulated.


Hydraulic fracturing is a means of tapping shale deposits containing natural gas that were previously inaccessible by conventional drilling. A well is drilled under high pressure to create fractures in the gas-bearing rocks. The pressure fractures the shale, and the propping materials - primarily sand - holds the fractures open enabling much more natural gas is able to flow freely into the well then would naturally happen. The gas comes up wet in this toxic wastewater and then has to be separated from it on the surface.

19

If fracking is defined as only a single fracture of deep shale that action may be benign. However, when multiple fracts are done in multiple adjacent wells, the risk for contaminating drinking water may rise. If fracking is defined as the entire industrial operation, including drilling and the storage of waste water, contamination has already been found.


Each frack in a well requires more than one million gallons of water. Although gas companies report that fracking fluid is 99% water, the remaining 1% drilled into each well equates to a mixture of 300 tons of approximately 750 chemicals. Many of these chemicals are trade secret “proprietary” chemicals such as benzene, methanol, ethyl benzene and xylene, and include metals such as barium, strontium and lead. According to experts 93 % of these chemicals have adverse health effects, 60% are known carcinogens. Only 30-50 percent of this wastewater is typically recovered from a well, it remains in the ground and is not biodegradable.

To date the oil/gas industry has been secretive about what chemicals are used and have lobbied Congress for a variety of protections. In 2005 the Bush/Cheney Energy Bill exempted natural gas drilling from the Safe Water Drinking Act. It also exempted companies from disclosing the chemicals used during hydraulic fracturing. The FRAC Act (Fracturing Responsibility and Awareness to Chemical Act is a House Bill intended to repeal this so-called “Halliburton Loophole” and to require the natural gas industry to disclose the chemicals they use. Advanced tests such as putting tracer chemicals down a well to see if they reappear in drinking water could ultimately prove whether fracking is safe or not. Some regulators are not waiting for better science, they are moving forward allowing fracking on an even wider scale. 20,000 gas wells are planned to be drilled into the Delaware River Basin to tap the gas resources of the Marcellus Shale, a black shale formation extending deep underground from Ohio and West Virginia northeast into Pennsylvania and southern New York. Elizabeth Miller McCue


21

Fred Rougerune Loison - Blackgold: cancer of this planet


Olivier De Sagazan - Transfiguration


23


25


Cédric De Smedt - Ce qu’il faut savoir

Lauren McCleary - Roaming the Oil Fields of North America >


27


29

Stephanie Craig - Assembly


31

Mehdi Benkler - Far Oued


33

Stephanie Craig - Assembly line


35

Mehdi Benkler - Far Oued


37

Stephanie Craig - The belt


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Mehdi Benkler - Far Oued


Holly Parker - Tank


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Edward Burtynsky - Oil Fields #10


Edward Burtynsky - Oil Fields #13

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Edward Burtynsky - Oil Fields #22


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Katie Loesel - Subterranean

47


Sofia Karlstrรถm - Kallsup V


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W

e primarily buy commodities neither on account of their utility nor as status symbols; we buy them to get the experience provided by them, we consume them in order to render our lives pleasurable and meaningful. Slavoj ŽiŞek First As Tragedy, Then As Farce Verso editions 2009


51

Jane Fulton Alt - Marrisa


The miserable thing The piece is composed with layers, which sometimes contrasts and/or strengthens the body/physicality of the performance. At one important layer, the sound of the piece dialogues with physicality of the bodies creating suggestions and exposing materiality for the audience to enter in the universe created by the piece. The way it relates to the audience, proposing a breakthrough a logic of senses and not it intentions to simply entertain or reproducing conventional relation for the body/mind, is what gives the political side of this piece. A critical collage is being used with songs as material in the piece. The song from the grandiloquent opera Carmina Burana «O fortune», meditation instructions for achieving richness or even becoming a millionaire, a disco song «What a wonderful world» asking for hope and togetherness, pop and mass multicultural songs made for the radio. The collage relates and refers with the physicality of the piece. The two bodies does not touch. When the encounter happens it is dry, mechanical, full of tension and force.

The physicality breaks with the naturalist action. Movement is taken in extremes. Or its very minimal or strongly big and intense. Middle tones are out and transitions are not necessary. In this mode, paradox and contractions can bring the complexity for the piece.

53

The movement is explored giving artificiality and plays with time where the imagination towards these bodies can be accessed. The waving movement used in the choreography brings the machinic notion to the body, and opens up space and possibilities for the audience.The movement plays with paranoid alertness, alienation, violence and power.


55


The dance considers the social body, how our body is explored and fetishised by society. And yet considers and want to celebrate, the avoided and non-explored, sexual energy as strength to bring awareness and knowledge of otherness.

Investigating, the notion of hallucination the piece brings many elements, which intends to encounter different access to the mind. For example, the piece counts with light, which gives colored shadows to the performer.

Emphasizing the suggestion and invitation to another logic of perception to exposed manipulation of reality. Ritualistic, this colors will lately materialize in liquids coming out of the body. The black shadow comes in the end. It is a huge amount of, not by chance, black oil.

The miserable thing got a award as best direction at ACT Festival in Spain in 2012, it was selected to ITS Festival Choreography Awards and to NEU/NOW Festival in Tallinn in the frame of European Capital of Culture. Antonio Onio & Fernando Belfiore

57


59

Jane Fulton Alt - Holly, Martin and Isabella


Jane Fulton Alt - Ben


61

Jane Fulton Alt - Jordan and Jean


Jane Fulton Alt - Dawn and Everett


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65

Jane Fulton Alt - Keith, Laura and Olivia


Jane Fulton Alt - Life Guards


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P

ull me closer if you think you can hang. Don’t go screaming if I blow you with a bang. There’s steam on the window screen. Live fast, die young. Bad girls do it well. M.I.A. Bad Girls Maya Arulpragasam records, 2012

69

< Hélène Baril - SBK Birth


71

Paul White - Sunset to stardust


73

Paul White - Lost dreaming of dinosaurs under fossil fueled rainbows


Hélène Baril - Baby SBK

Ruée vers l’or >


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77

Paul White - Echo park falcon


Hélène Baril - Danse macabre


79


Hélène Baril - Spoon gang mask


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Hélène Baril - South by southwest


The story behind SBK...

SBK was born in Finland, March 2012, after some dinners and events happened between artists. SBK is an experimental roaming organization, which uses its car as meetings, creations, working tool. It aims at realizing events where the interaction between an artist or an organization and SBK gives rise to visual art pieces of all kind. Besides, SBK is an allegorical and poetic initiative, whose sphere of operation relies on various images and representations: literature (SBK as a contemporary Don Quixote, Beckett aesthetics, pataphysics, Borges, Pessoa…), geography (Finland as a no man’s land, a world’s end), economy and environment (Shell multinational company, rise of transportation/oil trade/market) popular psychology (a gas station seen as a shared social site). SBK’s identity grows through the process of the closed relationship that it keeps up by generating images on one side and by inviting artists/ non-artists on the other.

SBK arises by the trauma symbolized in car crashes. Thus SBK is never protected from sabotaging itself. SBK would like to be real and make its actions grow, but its economic isolation, as it is unable to adapt to the world/society, don’t allow it to be sure of anything. There shall be a time for solitude, and a time for sharing. SBK cannot survive by itself.

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SBK SBK SBK SBK SBK SBK SBK

needs solitude. drives away. settles down. hides itself. exhibits itself. is fearless. is scared to death.

This difficulty of adjusting to the contemporary context is also what allows SBK to fit into the economic world by creating its own personal market economy. SBK’s economy shall therefore face «The Man» through playful means and deconstruction. SBK’s title and logo unequivocally refer to Shell multinational company. It is at first a fortuitous occurrence, since the wish was to take into account and symbolically appropriate the real Shell Bar located in Hämeenkyrö, Kyröskoski, South West Finland – as a linguistic ready-made. However, the allusion to Shell remains meaningful and SBK’s political content is obvious. SBK doesn’t get involved in any explicit activism, however it doesn’t happen outside of society. That is why its poetic, metaphorical and artistic ambitions are the medium of its commitment. SBK’s car trips use black gold within total freedom settings. Donation to high-yield, showy and hyperactive society is almost non-existent. This way, SBK attempts to transform the consumed oil into an empty shell. That is of course a pointless undertaking. Therein lies its strength and potential. Hélène Baril SBK scientist director December 8th 2012.


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Hélène Baril - Such beautiful kaos


HÊlène Baril - Moose shell molotov

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89

Hélène Baril - Spoon gang


Carlos Vergara - Untitled


I

lya facilement dans l’objet, à la fois une perfection et une absence d’origine, une clôture et une brillance, et pour tout dire un silence qui appartient à l’ordre du merveilleux. Roland Barthes La nouvelle Citroën, Mythologies Éditions du Seuil (1957)

91


Carlos Vergara - Untitled


93


David Herbold - Self Portrait as a Business Tycoon


95

Vincent Petitpierre - Cagoule


97


Mary Rothlisberger - George Eastman & Louis Pasteur


99


Mehdi-Georges Lahlou - CrĂŠature pour Chaman I & II


101


Mehdi-Georges Lahlou - CrĂŠature pour Chaman III


103


Mary Rothlisberger - Johannes Kepler & Albert Einstein


105


Sarah Pickering - Napalm


107


Mary Rothlisberger - Johann Gutenberg & Guglielmo Marconi


109


Amir Hossein Keihani - Black Birds


111


Mary Rothlisberger - Ivan Petrovich Pavlov & Alexander Graham Bell


113


115


117

Amir Hossein Keihani - Black Birds


119

Wolfgang Stiller - Matchstickmen


121

CĂŠdric De Smedt - 10e croisade


123

Wolfgang Stiller - Matchstickmen


125


< Ryan Hopkinson & Christopher Raeburn - Scorch Series

127

Sarah Pickering - Fuel Air Explosion


Christophe Wlaeminck - Pommes dâ&#x20AC;&#x2122;amour

129


Olivier Garraud - Have a nice death


131


Leni Riefenstahl, personnage éminemment controversé, a connu la gloire dans les année 1930 alors qu’elle réalisait un certain nombre de films de propagande pour le IIIe Reich.

Actrice et danseuse devenue photographe et réalisatrice, tombée en disgrâce après la guerre et plusieurs fois jugée sans jamais avoir été condamnée, elle poursuivit ses activités malgré l’infamie et le rejet dont elle fût l’objet, se tournant alors complètement vers la photographie. Elle réapparut ainsi sur le devant de la scène et rencontra une reconnaissance mondiale avec ses séries sur les Noubas réalisées au Soudan et publiées dans les années 1970 alors que son travail cinématographique se voyait peu à peu réévalué au sein de la sphère artistique. 133


Cette véritable renaissance portée par une détermination sans faille lui valut pourtant de sévères critiques, dont celles de Susan Sontag qui condamna avec virulence cette réhabilitation, décelant dans ses oeuvres récentes une constante idéologique avec le régime nazi, celle de la pureté de la race mise en scène à travers l’exaltation des corps. Cet affrontement prit des airs quasi manichéens et Riefenstahl ne cessa de justifier son apolitisme, arguant de son ingénuité et affirmant que la quête du Beau avait toujours été son unique motivation. L’ambiguïté de ce personnage à la fois populaire et controversé m’a poussé à m’y intéresser de près et à le faire apparaître, sous forme de simple citation, dans ma recherche photographique sur le portrait. La série «Leni Riefenstahl, my Ethiopia», a été réalisée dans la vallée de l’Omo, à quelques centaines de kilomètres des territoires Nouba où la réalisatrice du «Triomphe de la volonté» photographia les ethnies tribales quarante ans plus tôt. Ici, comme dans l’ensemble de ma démarche artistique, l’autoportrait est utilisé afin de convoquer dans l’image les différents éléments qui l’ont construite et faire jaillir de cette confrontation l’altérité de leurs identités et la complexité de leurs rapports.

Le touriste contemporain, incarnant une figure d’ «explorateur» similaire à celle de Leni Riefenstahl et porté par le même mythe d’une culture originelle à découvrir, participe pourtant à un processus de folklorisation de ces cultures singulières. Entre consommation de l’«Autre» et quête d’identité personnelle, le trouble est bien là; au partage culturel, ne se substitue finalement que l’écrasement. Diego Sanchez Leni Riefenstahl, my Ethiopia (2009-2010) 135


137


141


143


145


147


CĂŠdric De Smedt - Sourire force


149

Sofia Karlstrรถm - Walkabout I & II


A

rtists install 16.5 metre wind turbine blade in Tate Modern Turbine Hall. A growing call for gallery to end links with oil company BP. Liberate Tate artwork The Gift London (July, 7th 2012)


151

Paul White - Detail Aloha Mojave


153

Liberate Tate - The Gift


155

Paul White - Aloha Mojave


157


159


161

Liberate Tate - The Gift


163

Paul White - South tucson daybreak


Edward Burtynsky - Jet Engines

165


Paul White - Detail South tucson daybreak


Jean-Jacques Tachdjian - Oil Of Olove

167


Harem Pool

In 1991 I made a performance / installation work entitled Harem Pool. It was constructed of hundreds of sand piles, poured individually into a four-meter diameter (approximately) circle. The sand was not fixed in any way, resulting in an intentionally fragile and ephemeral work. A sheet metal pan measuring one meter square by four centimeters high (approximately) occupied the center of the sand circle, and was filled to its brim with discarded motor oil, which imparted a toxic smell and a reflective black surface. During the one-month run of the exhibition, a performer wearing a black nylon garment and a handmade fish skin mask, stood vigil at the exhibitionâ&#x20AC;&#x2122;s opening and for two-hour intervals each week. She held a glass bowl containing water and a square of white silk that had been drenched in the oil, causing it to float on the waterâ&#x20AC;&#x2122;s surface. The work was created in response to the Persian Gulf War (a.k.a. Desert Storm), and in consideration of the tangled inter-relationships between the control and exploitation of land and its resources, particularly oil, and human lives and bodies, particularly those of women. 169


The performer intended an observational position. Her mask indicated her silence, as its material suggested her abject otherness. Yet, in her watchfulness she maintained an awareness of the conditions that affect the land, its resources, and its inhabitants.

At the time of the workâ&#x20AC;&#x2122;s conception, I believed I was offering an empathetic reading of these complexities. In retrospect, several questions have arisen. This is especially so regarding my reference to the harem. Perhaps the work ought to be re-titled? Recent and ongoing changes within Arab societies weigh in. Perhaps the referencing of any custom beyond the realm of oneâ&#x20AC;&#x2122;s own experience it is always assumptive and therefore, flawed?

And yet, like the performer, I have a determined point of view. The harem by any name, that is, any case wherein a person may be denied the freedom of self-determination based upon the perpetuation of culturally and / or politically specific hierarchies is untenable. Equally, the persistent over-development and inequitable distribution of land and natural resources are unsustainable. The suggestion for a title change is not necessarily literal; the work as it was, is open to renaming and / or revisions as the case may be.

More to the point, I re-present it here as point of departure for a discussion regarding the convoluted relationships between war, resources, colonialism, global economies and issues of race, class and gender. These questions persist in their relevancy, as have wars in the Middle East and elsewhere, as has violence against women throughout the world.

171

Valerie Constantino


173

Edouard Duvernay - BlackO誰l


Julie Badin - Black Virgin


175


177

Arnaud Cohen - Silver Kiss


179


181

Arnaud Cohen - Black Coke Down


183


Michelle Marie Murphy - Viscosity


185


Michael Massaia - Borrowed Time


187


Wilson Roscoe - Itâ&#x20AC;&#x2122;s Getting Hot Out Here


B

lack is modest and arrogant at the same time. Black is lazy and easy - but mysterious. But above all black says this: «I don’t bother you don’t bother me». Yohji Yamamoto

189


Michelle Marie Murphy - Magnetic

191


Kristen Baumlier - Crude Oil / Carboniferous Forest Prints


193


195


197


W

ell Iâ&#x20AC;&#x2122;ll be damned if you can come in here any time you want and use me like some stud-service! Larry Hagman as J.R. Ewing Dallas, David Jacobs CBS (1978-1991)

199 < Arya Sukapura Putra - Think Less Feel More


Adam Dumont - Frances Bavier at Old Quaker gas station


201


Adam Dumont - Dan Dailey at Bay gas station


203

Adam Dumont - Junior Samples at Signal gas station


205

Adam Dumont - Nancy Kulp at Seaway gas station


Mehdi-Georges Lahlou - 72 Vierges


207


Adam Dumont - Jim Nabors at DX gas station

209


211


Mehdi-Georges Lahlou - 72 Vierges


213


Jennifer Axner - Hotrods


215


217 < Jennifer Axner - Gas Station

Wilson Roscoe - Itâ&#x20AC;&#x2122;s Getting Hot Out Here


Sorin Oncu - One Day in Oil


219


Harris Johnson - Car Tire with Motor Oil

221


Harris Johnson - Car with Moth


223


Julie Badin - Car


Julie Badin - Flag


227


Mihai Grecu - Weâ&#x20AC;&#x2122;ll become oil

Florent Konne - Littoral

Olivier De Sagazan - Transfiguration


http://player.vimeo.com/video/58299148 (54’15’’)

Franck Hoursiangou - Smile

229

Evan Roth - Propulsion Painting: USA


Kruno Jost - Deconstructing

Florent Konne - Motorbikes

Franck Hoursiangou - Set


http://player.vimeo.com/video/58299148 (54’15’’)

Antonio Onio & Fernando Belfiore - The miserable thing

231


Holly Parker - Explosion


http://soundcloud.com/make8elieve/m8-3 (9’35’’)

Marc Neys Swoon - Arbitrariness

233


235

Rafael Bonilla Jr - Extraterrestrial intelligence I & II


Henry Hargreaves - Deep Fried Gadget


237


239


A#Z Jennifer Axner (US OH) Hotrods, Gas Station

www.jenniferaxner.blogspot.com p214-216 Julie Badin (F) Black Virgin, Car, Flag

www.juliebadin.com p174-175, p224-227 Hélène Baril (F)

SBK Birth, Baby SBK, Ruée vers l’or, Danse macabre, Spoon gang mask, South by southwest, Such beautiful kaos, Moose shell molotov, Spoon gang,

www.sbkland.com www.facebook.com/sbk.scientists p68, p74-75, p78-89 Kristen Baumlier (US OH)

Crude Oil / Carboniferous Forest Prints

www.kristenbaumlier.com p192-197 Mehdi Benkler (CH) Far Oued

www.mehdibenkler.ch p30-31, p34-35, p38-39 Edward Burtynsky (CA) Oil Fields #10, #13, #22, Jet Engines

www.edwardburtynsky.com p41-45, p164-165

Arnaud Cohen (F)

Mickeynocchio, The Nokia Dwarves, connected people, Silver Kiss, Black Coke Down, Cheat

www.arnaudcohen.com p8, p177, p180-181, p246, p250-251 Valerie Constantino (US CA) Harem Pool

www.valerieconstantino.net photos © Y. Kobylecky p168-171 Stephanie Craig (US OH) Assembly, Assembly line, The belt

www.stephaniecraig.net p28-29, p32-33, p36-37 Olivier De Sagazan (F) Transfiguration

Images courtesy of the artist. nefdesfous.free.fr p22-25, p228, Video Cédric De Smedt (B) Ce qu’il faut savoir, 10e croisade, Sourire forcé

www.flickr.com/cedricdesmedt p26, p120-121, p148 Jason DeMarte (US MI) Fingers, Fried Doe

www.jasondemarte.com p14-15, p17


A#Z Adam Dumont (US OH)

Frances Bavier at Old Quaker gas station, Dan Dailey at Bay gas station, Junior Samples at Signal gas station, Nancy Kulp at Seaway gas station, Jim Nabors at DX gas station

www.flickr.com/adamdumont p200-205, p208-209 Edouard Duvernay (D) BlackOïl

www.edouardduvernay.com p172-173, p176 Jane Fulton Alt (US IL)

Marrisa, Holly, Martin and Isabella, Ben, Jordan and Jean, Dawn and Everett, Keith, Laura and Olivia, Life Guards

www.janefultonalt.com p51, p58-67 Olivier Garraud (F) Have a nice death

www.oliviergarraud.com p130-131 Mihai Grecu (RO) We’ll become oil

www.mihaigrecu.org p228, Video

Ryan Hopkinson (UK) & Christopher Raeburn (UK)

Scorch Series

www.ryanhopkinson.co.uk www.christopherraeburn.co.uk p124-126 Rebecca Horne (US CA) Milkbowlink

www.rebeccahornephotography.com p248-249 Franck Hoursiangou (CH) Smile, Set

p229-230, Videos Kennedy James (US PA) Ishi

www.dontstareatthesun.com p6-7 Harris Johnson (US OH) Car Tire with Motor Oil, Car with Moth

www.freeharrisjohnson.com p220-223 Kruno Jost (HR) Deconstruction

www.gentlejunk.net p230, Video Sofia Karlström (SE)

Deep Fried Gadget

Kallsup V, Walkabout I & II

www.henryhargreaves.com Cover, p234-239

www.sofiakarlstrom.com p48-49, p149

David Herbold (US ID)

Amir Hossein Keihani (IR)

www.davidherbold.virb.com p94

www.tamishir.com p110-111, p114-117

Henry Hargreaves (US NY)

Self Portrait as a Business Tycoon

Black Birds


A#Z Florent Konné (F)

Michelle Marie Murphy (US OH)

Littoral, Motorbikes

Viscosity, Magnetic

Mehdi-Georges Lahlou (B)

Sorin Oncu (RO)

Images courtesy of Dix9 Gallery, Hélène Lacharmoise (F) & Transit Gallery (B)

www.sorinoncu.com p218-219

florentkonne.tumblr.com p228, p230, Videos Créature pour Chaman I, II & III

72 Vierges

Images courtesy of the artist and MAAC Brussels production. www.mehdigeorgeslahlou.com p206-207, p210-213 Liberate Tate (UK) The Gift

liberatetate.wordpress.com p152-153, p156-161 Katie Loesel (US OH) Subterranean

www.cargocollective.com/katieloesel p46-47 Michael Massaia (US NY) Borrowed Time

www.michellemariemurphy.com p184-185, p190-191 One Day in Oil

Antonio Onio (D) & Fernando Belfiore (BR) The miserable thing

belfioreword.wordpress.com photos © M. Robak, N. De Boer p52-57, p231, Video Holly Parker (US CO) Tank, Explosion

www.parkerdearborn.com p40, p232 Vincent Petitpierre (CH) ECAL2012 Cagoule

chataigne.tumblr.com p9-10, p12-13, p16, p95-97

www.michaelmassaia.com p178-179, p182-183, p186-187

Sarah Pickering (UK)

Lauren McCleary (US ID)

www.sarahpickering.co.uk p106-107, p127

Roaming the Oil Fields of North America

www.ponybird.virb.com p27

Elizabeth McCue (US PA) No Fracking

www.elizabethmccue.com p18-20

Napalm, Fuel Air Explosion

Wilson Roscoe (US OH) It’s Getting Hot Out Here

www.roscoewilson.com p188 Evan Roth (US NY)

Propulsion Painting: USA

www.evan-roth.com p229, Video


A#Z Mary Rothlisberger (US IL) George Eastman, Louis Pasteur, Johannes Kepler, Albert Einstein, Johann Gutenberg, Guglielmo Marconi, Ivan Petrovich Pavlov, Alexander Graham Bell

www.flickr.com/mushroomk p90, p92-93 Paul White (AU)

Blackgold: cancer of this planet

Sunset to stardust, Lost dreaming of dinosaurs under fossil fueled rainbows, Echo park falcon, Detail Aloha Mojave, Aloha Mojave, South tucson daybreak

Diego Sanchez (CH)

Christophe Wlaeminck (F)

www.bangbangboomerang.com p98-99, p104-105, p108-109, p112-113 Fred Rougerune Loison (F) www.rougerune.com p21

Leni Riefenstahl - My Ethiopia

p132-147

Wolfgang Stiller (D) Matchstickmen

www.wolfgangstiller.com photos Š A. Kukulies & W. Stiller p118-119, p122-123 Arya Sukapura Putra (ID) Think Less Feel More

www.mafo-holic.tk p198

Marc Neys Swoon (B) Arbitrariness

www.swoon-bildos.be p233, Sound Jean-Jacques Tachdjian (B) Oil Of Olove

www.lachienne.com p167

243

Carlos Vergara (CO)

Untitled, Untitled

www.paulwhiteart.com p150-151, p154-155, p162-163, p166 Pommes dâ&#x20AC;&#x2122;amour, Laissez-mes-doutes...

facebook.com/christophe.wlaeminck p128-129, p247


MAKE8ELIEVE is an online magazine, born of a collaboration between two artists, Michelle Marie Murphy (Ohio) and Baptiste Lefebvre (a.k.a. Cetusss) (Switzerland). With MAKE8ELIEVE, we’d like to build international connections by publishing creative interpretations of one topic per issue. We believe we can organize an intelligent, challenging, and well designed magazine with contemporary and unusual topics. MAKE8ELIEVE est un magazine en ligne, résultat d’une collaboration artistique entre deux artistes, Michelle Marie Murphy vivant dans l’Ohio et Baptiste Lefebvre (a.k.a. Cetusss) vivant en Suisse. Avec MAKE8ELIEVE, nous désirons construire et étendre des connections internationales à partir d’interprétations créatives d’un sujet différent et atypique à chaque numéro. Nous pouvons organiser ce bel objet virtuel, un magazine intelligent et stimulant aux sujets contemporains et inhabituels. SWITZERLAND # OHIO www.make8elieve.com # 02.2013 Special thanks to Dasein Editions www.dasein.biz


245


Arnaud Cohen - The Nokia Dwarves, connected people


247


Rebecca Horne - Milkbowlink

249


Arnaud Cohen - Cheat


251


253


ISSUE #3: OIL  

MAKE8ELIEVE is an online magazine, born of a collaboration between two artists, Michelle Marie Murphy (Ohio) and Baptiste Lefebvre (a.k.a. C...

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