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FRONT COVER VILDE STEDAL KALVIK. Attitude HOM JEANNE CHERHAL. CHARADE The limit as a beginning
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NAU RICHARD GALLIANO. BACH According to Bach
MELANCHOLY MAARET. NORA HELMER’S DAUGHTER Hedgehog‟s shadows
SOPHIE BANCROFT. BIRD OF PARADISE A way to escape
ZOLA JESUS. STRIDULUM II Talking with the sea
WOO MING JIN. WOMAN ON FIRE LOOKS FOR WATER The need‟s trap
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SUMMARY MOOI. APPLE CHERRY PLUM WATERMELON Sonorous fruits
NUA JOSÉ MARÍA NUNES Wine‟s nocturne
ENVERS HOLLACE M. METZGER. WHY THE WILLOW Time is a willow
OLIVIA ADRIACO. HEAVEN SEVEN Desire‟s colour
CLARA ENGEL. SECRET BEASTS Undressing the instinct
KAT BOELSKOV. AMATEUR Free love
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ESBÓS HOLLACE M. METZGER Paintings
3 VILDE STEDAL KALVIK Thruthful details DEREK MOENCH Autumn re-imagined
GALA KNÖRR London fields
KAYLA MARIE CRAIG Innocent lies
BORN FECINEMA Black fade-out
NAU NUA December 2010 Issue number 3 Published by NAU NUA ART MAGAZINE DL B-42.495-2010 ISSN 2014-0002
Edited and written by Juan Carlos Romero All contents used under license. All rights reserved to their legal owners and signatories for all the contents in this publication.
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THE LIMIT AS A BEGINNING Jeanne Cherhal En toute amitié tu as relativement envie d‟être mon amant pour ce soir... Jeanne Cherhal returns with her third studio album, Charade (Barclay, 2010), offering us eleven songs with a common thread: a charade into four parts. It’s a very personal work in which Jeanne reveals her passionate and rational thoughts always in a continuous struggle. From that struggle is born a sound in which she plays all the instruments. She sings Mon corps est une cage as a passionate stimulus. So, she decided to isolate herself for a year in the studio in order to create and record. The limits are a starting point, never and ending one. Isolation may lead her to magnify her impulses but the feeling is that it is a consequence of them. The need to assimilate what she has lived to the full and to return to the desire’s ring in order to fight with renovated forces against the absurd walls. Je t'appelles dans la nuit, même au-delà de minuit tu réponds, je te dis "je suis perdue" et tu me guides par les rues et les ponts. Jeanne satirizes the contradictions between desire and engagement. En toute amitié starts howling with a firm rhythm, the excitement in the middle of the night turns on a vigorous piano which is followed by the other instruments. Everything goes in crescendo through sighs and gels car amitié comme ça car c'est sacré.
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Plus rien me fera mal sounds more like a wish than a reality. Jeanne sings fragile to the wounds suffered. The piano sounds fearful while she longs for sous le ciel trop doux plus rien me fera mal. But she knows very well that never will because life is a losing hand. Mon corp est une cage brings us the origin of suffering. She falls in a lack of communication because the misunderstood boundaries. Also, the lack of curiosity and enthusiasm for the game lead us to reject what doesn’t respond in the way we want to. Passion is a skill that few people have and few people can recognize. The forms are a beginning to create new questions over the other and not a place to hide us. To love someone is to want to discover him being also open to be discovered. Mon corp est une cage qui m‟empêche de danser avec l‟homme que j‟aime et moi seule ai la cléf. And the limit determines us to the silence. Reviens-moi, marche dans mes pas sung in a tremendously evocative tune. The notes flow like the waves of a whimsical and almost inconsistent sea. She abandons herself to her one desire and claims the possible origin of her isolation to return. And we all stay facing the sea with arms folded without being aware that every second counts.
Text by Juan Carlos Romero / Photos by Tania et Vincent
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ACCORDING TO BACH 42 Festival Internacional de Jazz de Barcelona
Richard Galliano 9
The recent path of the great French accordionist Richard Galliano can be seen as a homecoming. Johann Sebastian Bach was a German composer, organist and violinist who brought Baroque music to new heights of maturity, creating the foundation of all music that emerged later. Indeed, everything is in Bach, and Richard Galliano has been immersed in his work with the quintet of classical musicians who accompanied him in his inspired reading of the work of one of the greatest composers of the last century, Astor Piazzolla. Listening to Galliano’s latest work is as a return to the source.
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The Festival International de Jazz de Barcelona put the Palau de la Música Catalana’s stage at Richard Galliano’s feet for the admiration of the audience. That concert was on last 19 th November and Galliano presented his recent Bach (Deutsche Grammophon, 2010) with some pieces from his project Piazzolla Forever (Dreyfus Jazz, 2003). The pulse from vigorous to derivatively contemplative Piazzolla’s compositions resounded along with the harmonies emerged from the compulsive and wonderful Bach’s composition. Erik Satie was also present in one of the most chiaroscuro moments of the night. All this happened under the Galliano’s enormous inspiration on accordion accompanied by a magnificent classic performing quintet: Jean-Marc Phillips on violin, Sébastien Surel on violin, Jean-Marc Apap on viola, Raphaël Pidoux on cello, and Stéphane Logerot on double bass. The concert ended with the audience standing up completely delivered to that French musician. He could hear some ardent bravos when he played solo the ending piece. His interpretation of Bach's work is truly sublime. Galliano approaches the classic composer from a naturalness given by its high musical sensitivity. In his own words "en effet, dans ce disque, j'ai choisi un répertoire destiné à une multitude d'instruments (le Violon, le Violoncelle, les Claviers, l'Orgue, le Hautbois...) et chaque fois l'Accordéon, le Bandonéon ou l'Accordina (sorte d' Harmonica à boutons) s'approprient la partition originale et démontrent l'universalité de la Musique de J.S. Bach, pouvant être interprétée de manière tout aussi artistique et expressive sur des instruments inventés quelques... deux siècles après la mort du compositeur". And that naturalness is deeply perceived by the audience soul in his concerts but also in his records. His music always flows as it was emerged for the first time. It's new and old, it’s the return of everything we once knew and had forgotten. But Bach's music is always waiting in the path of creative memory.
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The accordion and bandoneon road through the melodies of Bach’s compositions is ultimately delicious. Badinerie (suite for orchestra No. 2 in B minor) through the most popular Air (Suite for Orchestra No. 3 in D major) to his unique original composition, Aria, a tribute to the legacy of the master, are signs that all makes sense in the sensitivity.
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Text by Juan Carlos Romero Photos by Emmanuel Ducoulombier
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HEDGEHOG’S SHADOWS Melancholy Maaret (Secret Sauna Sirens) Melancholy Maaret states in her website that "Tarkovsky's polaroids Are Better Than asteroids" which is already a strong statement of visual and poetic principles. To penetrate her universe leads us to hermetic feelings, almost suffocating. Shadows and grey shades are here the framework for our existential traumas carried since our childhood. Alice felt as a wonder a world fruit of the passage of the darkest dreams and desires, where the strict social norms appear blatantly ridiculous and hurtful with impunity. Melancholy runs through this passage and creates a world of sirens that belong to the secret sauna we all have inside. Poet, photographer, video artist, has an insatiable need to show our hidden corners, which are also yours. Nora Helmer's daughter is a work in which Maaret shows us the bones of the lie between a mother and her daughter. It is the fifth piece in the series Naive ComputerOpera for Heroine and Hedgehog, video-poetry project that includes music and visual installations whose last creative phase will use the live movement. "Each story can exist on its own, and every story also is a russian doll, breathing inside the other stories". Thus, Maaret invites us to discover layers in her work but also in our own soul.
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Initially, the negative image of a hedgehog illustrates Maaret’s voice, here the daughter of Nora Helmer, whispering Mamma... I pretend to be you. The dreams and desires of mother and daughter are here confronted in the daughter’s whisper, seeking the border between their existences, and individuality becomes a distant goal for both of them since the same birth. What do you become, mamma? Are you an artist like me? The daughter walks through her own vision of her mother again and again wondering about their own identity. You're an oil painting, I am the sea, old lady, you cannot love anyone, your own heart in a nutcracker... One senses the idea of the mother creating the daughter beyond her birth, trying to influence on her identity which always becomes something impossible and is painful because that attempt never results innocuous. The video shades are streaming from the grey to blue, green, red and pink pastel, in a blurred air, not too much defined. The images are purely domestic objects seen as a prison, not as freedom spaces. Now is the time for the child breaks that chain the mother also suffered with their parents. The quintessence of life is grace over perdition... The ghosts created by traditional beliefs and customs, all the resignations early assumed because our desire of being socially accepted and then imposed to our children because our lack courage in life. Text by Juan Carlos Romero Photos by Melancholy Maaret
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A WAY TO ESCAPE Sophie Bancroft 16
Bird of Paradise (LisaLeo Records, 2010) fills a lot of spaces. In our ordinary life we create holes inside us that we abandon just because our cowardice. It was the same situation as kids when we got scolded, we use to negate those spaces, which are really necessaries, just to not accept our fault. Maybe, we’re selling a little bit of our souls every day to the devil we all have inside just for nothing else than a poor smoke, and that means nothing. Is there something else? Yes, there are birds so free that we are unable to recognize them. There are flights over the paradise.
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There‟s veins of hope in broken things, see my blood re-inflate his wings, I‟ll kiss him like a wasp sting and shock him into loving me. A guitar pizzicato precedes the beautiful voice of Sophie Bancroft in the song Occasional China in which she stops in every detail of her beloved. The viola’s solo really thrills giving us the fragility feeling of the never said words that build spaces on the verge of a break up. But tenderness appears in I carried your heart, a personal song by Sophie. Her intonation is so warm telling us time passes by, the earth turns completely around once every day…and still I can see from my front door the same piece of sky. But it’s any piece of sky, it’s the blue that accompanies her each year, the shoulder where she rested so many tired looks and created so many questions fed on her own lights, shadows and silences. That piece of sky will always be with her, wherever she is. Whispers are important when they arrived loaded down with truth and no need in the love to the other disguise. No smokin‟ just accepts the need that admits the bitterness and the egoism with no disguises. I‟m waitin‟ on you to light me again, I‟m waitin‟ to you to ignite me again, I need you to drink my musty tears, I need you to light my cigarette, I need you to tell me you‟ll always be here. Then, to admit it is to love it.
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Again, Sophie in her own words and music brings intensity to her acoustic guitar in the title song of the album. I am a window cleaner, cleaning the peopleâ€&#x;s eyes, I am a bird of Paradise. Conformism is not enough when she has a deep curiosity living inside her to the full. Her voice gets away, she wants to fly beyond her kitchen’s walls. She talks to them in an inert way. They never answer like her piece of sky does because her mind is in a magical and mysterious journey, full of walrus and fools hills. That feeling is more painful when the geese fly south, feel lost and lonely here, your dreams of yesterday surround me as they fall in dusty silence. Everything is fragile and fearful even at home, but there when I cover my ears I still hear your song and with eyes wide shut I see where I belong and I know that I am home. If we all closed our eyes, her voice would take us back home and we would meet again our piece of blue sky. Just the way she already did it in her previous album Handwritten (2008).
Text by Juan Carlos Romero Photos by Louis de Carlo
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TALKING WITH THE SEA Festival Primavera Club Barcelona 2010
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The concert began in a cold way. Few people attended the concert in Barcelona’s Sala Apolo. Festivals have always tight programs and they are always hard to follow. Festival Primavera Club was in that case. I admit I felt fine knowing that I could enjoy Zola Jesus music in a comfortable way. Zola Jesus is the alter ego of the American singer Nika Roza Danilova. She’s just twenty one and radiates a powerful voice surrounded by a gothic and icy atmosphere. The sea talks to us through her music and one feels it very closer although its remoteness. The sea brings us dense fogs and red sunsets and returns to us the echo of every tear we’ve shed on it. Deservedly, the ambient became heated by the third song. A lot of people were late but in time to fall in love with the overwhelming voice of Zola Jesus. A minimalist ambient on stage in forms and sounds shows her vocal and melodic power. Last year has been a really splendid one: she has published three records and has performed in ninety seven concerts sharing stage with bands like Fever Ray. Her recent album Stridulum II (Sacred Bones Records, 2010) gives us creativity in a bizarre aesthetics and a heartrending content.
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I can‟t stand starts with the lament it‟s not easy to fall in love. Nothing has been easy to her but the fact is that her frenetic activity makes sense to the following sentence it‟s gonna be alright. The drums in a martial rhythm reminds me Sunday, bloody Sunday by U2, but they are here following a more painful voice and firm step. Life is not easy but is full of beauty beyond the insubstantial oversimplification. Listening to Poor animal one feels that the sun is rising just for you. The keyboards blend our personal skies. Each mind travels alone through their sounds. I‟m not your savior, save me please, we‟re delusional poor animal. Yes, the sun rises but reality is still as hard as it always was and we just can count on ourselves. Night is a highlight in the album. Don‟t be afraid, in the end of the night you‟re in my arms. But it’s always difficult to face up the fears that are waiting for us when we leave the ordinary bus. So come close, close to me and I‟ll come closer to you. Even so its sound reminds us the solitude’s impotence. When you‟re lost never look down, when you‟re lost know I‟ll be around, in the meantime when you are found I‟ll be here. Nobody can find us although it’s always helpful a lighthouse through the night. It’s a masterpiece. Heaven can wait the better portraits of our fears in Nika’s songs despite the risk of showing oneself up. Her Sea talk already stresses I can‟t give you what you need. Text by Juan Carlos Romero Photos by Dani Canto, except for the third one courtesy of Primavera Sound
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THE NEED’S TRAP Woo Ming Jin 24
Woo Ming Jin is a young filmmaker born in Malaysia. He has studied cinema and television in San Diego, USA. His short career has already attracted attention to many film festivals around the world with films like Monday morning glory (2005), The elephant and the sea (2007) and The tiger factory (2010), his last film just after the one presented in the official section of L’Alternativa 2010 Festival de Cinema Independent de Barcelona. Woman on fire looks for water (2009) shows marriage as an economic solution. Living together for love or for economic interest is the dilemma presented here by the different experiences lived by a father and his son, they both linked with the fishing business. While the young son is trapped between the beloved girl and a rich businessman daughter’s desires, the father sets out to look for the beloved woman he rejected a long ago just for the money. The film becomes a thriller for the audience because the son is falling down in the same mistake the father has been paying the whole life. Now, as an older man, he tries to rectify it but perhaps it’s too late.
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The film goes from the rawness of their terrible working conditions to the precious nature that gives us images in intense green shades and skies full of nuances that seems to be a metaphor of the richness of our existence which we use to reject due to the fear of an inexistent future. Water is also important as a way of life and source of food, but also as a symbol of the feelings and interests flow. The river baths the green it has created with a lot of efforts. Part of a very remarkable official section complemented by varied program of parallel sections and tributes to Alexander Kluge and José María Nunes, that film became a highlight in L’Alternativa thanks to a very personal touch. The film has also been presented in some important festivals such as the Rotterdam and San Francisco ones. We just call future to the mirror of our fears and we become trapped in and lose the green horizon of the present moment which is already past.
Texto by Juan Carlos Romero Photos by Woo Ming Jin
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SONOROUS FRUITS Mooi 27
Mooi means pretty in Dutch but her music comes from the Mexican land. Mooi is in her own words an apple sweet like a cherry, sometimes in sorrow like a plum but in the end it‟s all good like a watermelon. But she creates images that are evocations beyond the earthly fruits, they are a land for dreaming. Mooi is a recent project born from the experimental composition of Renée Mooi, the production of Gunther and the electronic sounds of Diego Quirós. Together, they have created an electronic pop sound ready to catch us. Renée sings in English with a suggestive voice weaving dense sounds but dreamy, as she says un gran ejemplo de lo que puede resultar al lograr lo complejo de lo simple. Apple’s first notes sound like this although they are also disturbing. Suddenly, some drops are sounding in the middle of the darkness before Mooi’s voice calls us from a long distance. Oh, why, tell me why you have a heart like mine inside and why you grow in trees…It’s very close to the Hamlet’s wondering to be or not to be just changing the skull for an apple. While the reasons resound the music becomes richer around the piano’s pounding because it’s always raining inside us.
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A sinister atmosphere takes over Cherry although Mooi brings some light quickly. A subtle and beautiful piano tune calms us down after a dark beginning but dangers are still there. Programming and distorted sounds appear and disappear while Mooi sings her personal cherry taste. Moments are eternal even when they are dead. Memories hit our minds when they are not solved. Plum’s sound is bittersweet but very rich in its mix of eastern and western sounds. When she sings I remember it’s like a mantra which is dead before its birth. Probably she can’t remember but she wishes to. The strings section surrounds a dream created from desperation. All those tastes get mixed with memories and fears of an uncertain future. But Mooi moves forward with a firm step and an elegant creativity.
Text by Juan Carlos Romero Photos courtesy of Mooi
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WINE’S NOCTURNE José María Nunes 29
“Ahora es siempre, el siempre de antes y de después, sin relojes ni calendarios. La existencia es la realidad, la verdad es la vida. Esto es más o menos el arte”. That’s a brief extract from the José María Nunes speech for the Second Artistic World Meeting in Valencia in 2002. He was an eccentric filmmaker and had image as his main language because he doubted his speaking ability and for that reason his speech were always very long and halting. His ideas were always an incessant ray the same as his films. He died on 23rd march 2010 just after the premiere of his last work, Res pública (2009). He was born in 1930 in Faro, Portugal. He moved to Spain at twelve. First, he lived in Sevilla and later in Barcelona sharing a shack with his family in the early years. He began working in the cinema industry as an extra and later as a script. Subsequently, he achieved a job as a scriptwriter and director’s assistant and finally he got the direction of his first film, Mañana… (1957). “Tomorrow” is in his own words “la salida que buscan para engañarse a sí mismos quienes sienten la impotencia, la cobardía de afrontar cara a cara su circunstancia en la vida”. It was a real Nouvelle Vague’s preview in a Spain dominated by Franco and fascism. Even so, the film didn’t work because a bad working conditions but it spread the Escuela de Barcelona followed by filmmakers like Jordà, Aranda, Suárez, Camino or Portabella. Nunes thought that the cinema born from that group is the only real avant-garde cinema made in Spain ever.
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Scenes from the film “Noche de vino tinto”
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His career achieved his highlight with Noche de vino tinto (1966), a night where two solitudes met and decided to go around every bar in Barcelona looking for a red wine’s heaven and ending in a grey rising without any hope. Then, Nunes experimented with filming without a previous script. But the Spanish censorship didn’t let him a way to do it so he decided to move to Paris in the final sixties. Freedom was always his way and he just returned to Spain with it and for it.
His last film, Res pública, is a reflection on existence as an individual fact. According to Nunes, each person can decide his freedom therefore his death. Since the birth, a person can decide between to live or to die at each moment. The film’s main role is a rebel who looks for a freedom he finally just achieves thanks to love some women or to irony and a subtle sense of humour. It’s a philosophy as well as his filmic chant A la soledad (2007) in which Nunes looks for the age of the sun as the higher level of intelligence. His search was his life.
Text by Juan Carlos Romero Photos courtesy of L’Alternativa
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TIME IS A WILLOW Hollace M. Metzger 33
Hollace M. Metzger has held guest appearances in three music albums to be released in 201. She’s a lover of time and space because they are movement. She has exhibited her art in New York, Ohio, Kentucky, Brooklyn and Paris. She has a magnificent intellectual energy expressed in painting, poetry, music and architecture. After her recent poems published under the title Why the willow (2010) she’s now working on her first solo exhibition in Paris. Many projects that take her to new visions, new words full of new meanings and new sounds to understand the past and wonder about the present.
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You are an architect, visual artist and poet, always searching new ways for expression. Where does your artistic impulse come from and where does it take you to? It comes from the necessity to communicate and, more importantly, to exist in time. I suppose it also comes from an incessant need to be organized – order, geometry, finding modulars, you name it! In photography, I think I‟m drawn towards moments where a person may be inspired to make a decision whether its about gravity, direction to travel... which is also symbolic to many questions in life. I do seek symbolism in photographs as well, more so making those symbols new symbols that could mean something personally, not quite as powerful as Van Eyck‟s Arnolfini. In painting, I leave realism to the experts as what I feel driven to find are new methods, new perspectives of what could be perceived on a cellular level, a microcosm, an urban plan or even a universe. It also connects to rhythm, why I often paint to music, and try to extract from my subconscious. What matters to me most is that it works well together, that its rhythm creates or reacts to other rhythms and – whatever form it may take – it‟s resultant beauty lies in the fact that all components need to exist while vibrating off of other bodies, masses, forces and energies. Where it takes me is a surprise every time, but I know every new work results in me knowing myself better. You completed your degree study with a thesis called “Kin-Aesthetic Fourth Dimension” and you’ve mentioned it as a life-study where you proposed architecture, experience and painting as a combined practice. Could you tell us the main idea behind your thesis? My undergraduate thesis, yes. Kinetics, Aesthetics and Time remain important in my work. There is a long list of renowned architects who also painted and instead of this being extracurricular, it was necessary in their studies of space. I watched this dwindling since 3D became standard visualization around 2000, for selling, and now I feel tangible discovery is something lost in today‟s professional world. You can also see this with youth and video games. Furthermore, my study involves what something appears to be, what we as humans are attracted to follow out of curiosity and this motivating our mobility, to move through and interact with space and objects defining space, becoming a part of it. Again, its the question posed (confrontation with planar objects, void, etc.) that results in a decision, thus incorporating human psychology into the mix as well. I think a brief review of Cubism and Futurism would explain what I mean about objects in space over a time sequence. When there are represented start-points and end-point in a path of movement, one often looks between to understand the story, and this “between” represents a specific time frame. Diagrammatically, you can see this in the vesica pisces for example, what is shared among those experiences. This may be specific, but formal connectivity, fluidity, is what interested me in art and eventually led to thinking of it on a greater scale, as in one‟s life and the natural transformation of self. Transparency is a recurring concept in your works, from your thesis to your poetry and the poem “For I, Wish” is a perfect example of that: “Sight unseen, these dreams lead to transparent heavenly lights cusping ever-present darkness in opacity, to night-time‟s rooms without walls -On the edge of day and night, to remain, always. For I wish to be still from this distance, with the possibility of traversing boundaries when need be, or traveling, sidling its circumference where I will see only totality, all forests for trees.” Do you think we all have a strictly materialist life’s concept and perception?
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I think the evolution of transparency in my work is rooted in a desire for truth, as in poetry disclosing many truths of an author even if they are not blatantly stated. “Sidling (a) circumference” represents a personal desire to maintain a good view of the whole, to never fall comfortably into one classification or train of thought while remaining open-minded. Transparency also allows us to reflect backwards and forward in time, both of which I am a proponent. More importantly, it allows for these views while understanding and celebrating where we are now. The mysteriousness, or “translucency”, of what lies ahead keeps me moving forward while what lies in the midst, memory, becomes more and more hazed-over. I think this is also why I‟m opposed to digital alterations in documenting a place. By bending low, looking backwards, reflecting... perhaps others will have the inspiration to see differently, appreciating life more while also realizing they don‟t need to leave the natural world in order to do it. Either he/she needs to have a different perspective of life or, simply, move a little bit. Regarding materialism, I think trends have pushed humanity into its comfortable loft embracing its social adaptations with silk pillows. Unless we change our attraction to it, cease applause for those who do and realize what is most important in life, we will continue to devalue it with more and more “things”. I think man is a collector and this does make him lovely., but when that collection begins to contain objects that are not really his, just to compare his curio cabinet with another, then I don‟t really understand the point of it. Another of your poems, “In passing”, ends with a deep reflection about love and life as poetry in passing. Is real love present in ordinary life? This particular poem is time-specific and situational. I‟m often documenting moments that have happened, emotions that may or may not come again. If I have a list of every possible emotion in the end, then I will consider it all a success, not necessarily for me but for others. Thinking why I read books... so that others may read and say, “Yeah, I know what she‟s talking about...” Then, smile or not feel as if they are an island. I think society loves as it has learned to love, or how it has adapted to respond to such sentiment in their brain. So, yes, I think man loves. I am not so confident he or she will always express it in a way where any other will understand. And this is why it was “passing”. It was another personal relationship with another where communicative love just wasn‟t possible, my realization of it. This poem was also written when a close relative had died, so I paralleled the two and ended it by saying that a life, a love, will be – at the conclusion of the poem – passed. And it was. “For if you decide not to exist, do not invite me into your life. Do not falsify your ability to love, to live, to learn, to give.” It’s an extract from your poem “No other way”. Is society based on false premises created by beings jailed by their own fears? Yes. Well, it‟s not so simple really, but my opinion is: I do feel many beings are jailed by their own fears in addition to learned sociology – aged children in adult skin, if you will. If we could negate both, I think we could progress as a more unified world. However, I now know I cannot blame someone for being all they know to be, but I‟ve said my peace before I walked away and that‟s what a lot of my intimate poetry is about. Perhaps then, the person I am speaking to and others will at least think about it and make a different decision from their own logic and experience, which would be the “Other Way”. I think its also important to appreciate every “new day” for what it is – never anything that has happened before. That day can bring proof that previous fears should be no longer, that anything could be seen differently.
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Is life full of boundaries that restrict our existence or an open space to discover? I think my friends and family would say that I am not the person to ask this question to. I am as stubborn as they come, when I believe there is an answer somewhere or that an obstacle can be overcome. Yes, life is full of many, many boundaries. Where to not find the fissure that cannot be traversed on earth, or how to learn a new way to jump it is yet to be determined. I also have found that intimidation and a lack of drive is the greatest enemy to most – not the actual obstacle. Our existence is only restricted in our lack of belief in ourselves. There remain open spaces to discover, perhaps they just take form as something we did not expect or predetermine from studying a textbook.
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Why the willow? Because it may appear saddened, yet I was offering a new viewpoint: Perhaps it is reflecting in its own tears to see its own beauty and the beauty in detail, of the things around it which serve as its seasonally-changing backdrop and in it‟s life-composition. This is explained in the conclusion of the poem. I think it was my way to say to readers (as poets, romantics, creatives, empaths, etc. are often categorized to be melancholic) to take another look at what they see, categorize, or write off. Life isn‟t so easy and there are beautiful souls to befriend, to know. However, they may not be fully bloomed, erect, or bearing fruit! This was the last poem written – when asking myself a very personal question – which, wherever the pen wanted to take me on that day, would also be the title of the book. It also reconnected the text to my art, what I was focusing on that year in photographs and painting, even architecture – “reflecting”, a lack of gravity and possible euphoria in a state of “weightlessness”. There are of course many biological and reproductive details about the tree that attracted me to it, but mainly it was because of its stature, symbolically. Other poems in the book also reference youth passing and maturity which were on my mind as well. What’s beauty? One thing I‟ve learned is that one‟s definition of beauty changes over time. I think beauty is truth, honesty, sensitivity – making the most of a person‟s, object‟s, place‟s or idea‟s content. I think it is taking primary colors and discovering what can be made with them, metaphorically speaking. Beauty can be found in anything, but it is our responsibility to observe it from afar, in totality, or closely under a microscope. Again, it is truth, not a mask. A knife is an essential instrument in your visual work in which you create an interesting link between painful and beauty. Evolution is directly linked to violence? It is a painter‟s knife, really. With a regular brush, one experiences sensations of pulling and pushing. The knife is only a pushing motion, its paint needs to be allowed on the canvas in different speeds, but mostly in a regular stroke, like drafting with an architect‟s flat-tip pen which takes practice to evenly distribute. What this does is allow more precision and control, for me. Shortly after I turned 30, I experienced a cerebral stroke which left my body paralyzed for about ten minutes. The only side-effect from that was nerve damage which caused my drawing hand to be less sensitive on the palm‟s surface. This, of course, was no trouble if I wanted to continue drawing buildings with a computer mouse for the rest of my life, but I wanted more than that. I think life‟s little warnings cause us to put a lot into perspective, however unfortunate they may be, and I took this incident as a sign that I may not have what I do have forever. People have taken the feminist position that my paintings are extracted from pain, a fight, rape, etc. But, I think they are created with direct movement, strong and weak thoughts. I‟ve been using canvases with the girth of an arm span, as if I were to make a snow angel - defining my space, human space, as did Davinci with Vitruvian Man, Le Corbusier with Le Modulor. When doing this to music, a rhythmic time period – a dance, if you will – is documented. If cutting a canvas is a subconscious, painful memory sketch, then what I hope to create with that is a combination of details that have made me what I am and, in their intricacy, construct something new altogether – fractals, for example. And, no, paintings are not directly linked to violence although surely some cuts are. An artist‟s canvas changes as he/she does and throughout the creation-life of a work, I know it is experiencing my peace, wrath, memories and hopes among other emotions. The canvas knows your truth, nobody else, really.
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I think your life concept is a fluid existence in a perpetual potential transformation but your visual work is full of lines. There are a lot of geometrical figures mixed with some vegetal inspiration. Is that your own vision of our fight for existence? I have always questioned man and machine, technology and nature into the super-natural. I think after the Industrial Revolution and through the Technological Revolution it is our responsibility to learn from these innovative periods and to balance how much of our time is dedicated to what is new versus to what is and has been that works. Perhaps we may find ourselves not at the forefront of popularity and technology (there are already those who have committed themselves to this), but we could find ourselves at the forefront of thought as modern-day thinkers, philosophers and such. Technology will not progress us as a nation, culture, world if we are progressed individually, yet
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alone in doing it. So, I like to look at the details of things that have remained through time, the origin (nature), and understand larger concepts about existence and survival from them. Often the answers to many questions can be found in something so simple. Does your world really exist? My world exists as much as your world but what makes the world so different is how each of us sees it, how we‟ve decided to approach it and how bright the sun really is. The poem “My World Exists” explains personal experiences throughout a lifetime in different countries, how I felt while experiencing them while it also may reveal how some of those experiences were not what others had had in similar situations. The poem with its title, using myself as an exemplary “case study”, simply shows how we all have different perceptions, and also how that should be respected. I wrote it in Brooklyn, where I had lived while planning a return to Europe. I needed to express that the memories I had of places I wished to be a part of again, and those that touched me deeply, remained – I was a New Yorker, but I was collectively other places too. The willow will be always with us because its tears are ours drawing the trace of our existence.
Interview by Juan Carlos Romero Photos by Hollace M. Metzger
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DESIRE’S COLOUR Olivia Adriaco 41
After little pop rock gems like Sleepin late included in her debut album Ambiguous (2004), Olivia Adriaco presents now her second record Heaven Seven (2009) looking for the eternal need of being reborn after a break up. Her voice is as sensual as her look and her tunes are full of desire. She wonders if love is a dream or a reality and creates a song from every doubt looking for the heaven seven, like everybody does. A short Prelude of just fifteen seconds opens your new album. It gives us a bizarre atmosphere with an old clock sounding around and your voice as an echo surrounded by some crickets. Night comes first here. Are you a night soul? When you create or play the style of our music, evidently your way of living is more next from the one of Lestat than from the one of a Rooster... Suddenly, a rough guitar sounds and your voice sings I’d sell my soul for a total control over you. Do you think control is compatible with desire?
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Precisely no, that's the reason why I'd sell my soul for a total control, because desire just can't be under control. Desire is the unknown, it arrives when we don't expect it, without explanation and goes back letting you speechless. You can't explain it, desire is unexpected. It takes you and you like an old socks ... And when you don't want to lose it, you have to find a solution, thatâ€&#x;s the reason why we have to sell our soul.... For a total control! A powerful riff takes us to an Onion and the tears from a brutal break up seem to become some hope for the future. I found some peace again by myself here sung in a hard rock style. Why is so difficult to find peace of mind when we’re alone?
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I think that we can find some peace alone, sort of a rest time between two tempests, but just for a short period of time . Or you become the tempest yourself. Nevertheless it's difficult to find peace when you miss someone. But... Sometimes to be alone is necessary to find peace, it helps you to find deeply in your mind what's wrong with yourself.... A beautiful piano tune goes with you in Cool. Your voice is so delicate but warm and full of hope. Again painful from a not desired solitude emerges rejecting an ordinary iceberg always colder than he looks. What’s warmth for you? Warmth comes to me with good memories of life with someone. It's a warm, a pleasure to think once more of them. At the time, when Paul Ives wrote those lyrics on my melody, we were having so much good time together, he was my friend, my best friend.... A so good friend..... I thank life! Now, He is cool in a warm sheet of snow. Red love, blue sky, green sea deep, technicolour dream...I got some colour to sell. First you sell your soul and the full rainbow here...What’s the colour of your mind now? You have pointed your finger on i ....! Love is a rainbow....Red like passion, blue like hopes, green like peace, black like troubles etc... My mind, my heart and my life are full of colours! Each colour is magic, it depends of you, how you decide to use it or to be use by. Anyway, each colour can have a positive influence on you, even dark colour. Darkness can be deep and poetic. Red love is also a wink to the French expression "Raide Love" meaning to be deeply in love with someone, kind of crush, falling in love at the first sight in a crazy way. This song can be also a poetic answer to Roxanne.....Red is a colour giving a sulphuric lighting to Love.....isn‟t it?.... Passionately you sing call it heaven just a night with you. A red heaven is painted in my mind listening to this song. You dance in your Cinderella shoes and desire is floating around. Present is all we have? Present is the conjugation of love ...It's better for love...Love is a secret.....Only life can unveil it.... Wait and see....But keep it dark. Unrestrained starts in a gospel style but quickly it becomes a hard rocker song about getting a new way because you cannot trust and risk the rest will become dirt. Why is so hard to break a relationship that has become just a jail? Nobody knows....In all relationships we are the consent prisoners, the jailer and the prison itself, all together. We are in possession of the keys and we know how to use the lock.... But outside is often terrifying. You are free to stay or free to go, but in those two solutions, you have to do it unrestrained. To be unrestrained is a way to be free..... If I ask you about the future as a concept, what’s your answer?
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Is the futur compatible with an Idea of concept, still now ? I have to call Major Tom for this.... Pray for earth.... Say good bye has a deep strange ending part in musical terms because its African influence mixed with electronic sounds. It’s an important contrast to the rest of the album becoming a kind of chill out. Do you use to enjoy with electronic dj sessions? Our musical culture is very open for what is good. Usually we play this song on stage, at the end of the show, to say goodbye. It's always sad to say goodbye, and the way we arrange this Song make everybody happ . It's a way to say, save the last dance for me....We will see each other very soon and that's the way we imagine to say goodbye. Finally, Janis Joplin or Barbara? Without any hesitation: David Bowie. She’s the heaven on earth and sees the sky as a way for passion. A night soul, her music is born because she wishes what seems to be impossible, freedom in love.
Interview by Juan Carlos Romero Photos by Blondie www.blondiephotographe.book.fr
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UNDRESSING THE INSTINCT Clara Engel 47
Clara Engel brings us Secret Beasts (2009) recorded live in just a weekend. Her poetry and her raw voice arouse our nervous system and make us being conscious of each one of our steps. Life beats, fears, loves, wants, hates and doubts her reasons in each song. Her songs are beasts breaking jails.
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Who are the secret beasts? That title comes from a Theodore Roethke poem. He is one of my favourite writers, but my volume of his poetry is packed away in a box right now, so I can‟t locate the poem. I believe the line is: “Out, out, you secret beasts, you birds, you western birds.” (I hope I didn‟t butcher that). I probably chose that title because it was a relief to release these songs. A lot of them are kind of brutal love-songs, so it was good to set them free to run away like wild animals, and leave me in relative peace to move on to the next chapter. Break in the sun has an apocalyptic atmosphere in sound and lyrics. I feel like a ghost, rootless desire and dirty clothes...Are you expressing a personal feeling or is it your vision of our time? Literally speaking, when I wrote that song, I was spending a lot of time travelling on buses alone, headphones on, writing, thinking, and it was a really difficult point in my life. I felt lost in the way that the protagonist of Anna Kavan‟s novel “Ice” feels lost. He is searching for a person, and for a feeling, or maybe for a person who (he believes) allows him to feel. The further you get into the novel, the more you get the sense that she no longer exists, or never existed in the way that the protagonist envisions her. The novel takes place during the onset of an ice age, and he is racing against a world that is rapidly shutting down and becoming very difficult to navigate, less and less conducive to life. It is kind of exhausting to read. It reminds me of Secret Beasts though. I actually had to put that book down and take a break, I‟m still halfway through it, and it‟s also packed away in a box. I read that it was largely inspired by addiction, and I think the obsessive quest for any euphoria is a form of addiction. I don‟t have a distinct vision of our time, I see things in a more fragmented way. Ghost opera is deeply painful. Your voice is literally crying for faithful lies asking them to keep love alive. Faith, lies, love, money, patria, etc. Do you think we’ve transformed life in a lie? I don‟t believe in a singular „we‟, and I can only speak for myself. I don‟t think it‟s possible to transform life into a lie. Life is huge, much bigger than anyone could ever fathom, which is both comforting and terrifying. Lies are stories that we make up, they‟re tiny, even big lies are tiny in a sense. We have a lot less control over our lives than we pretend to have, and there are many institutions and conventions in place trying to placate us and distract us from this. Violent storms, illness, death, these are ancient monsters that we will always have to face, and however much one lies to oneself or to others, those monsters will always be lurking, and they cannot be framed or contextualized away. I like singers that acknowledge terror, and sing for their lives, writers that write for their lives, like a swimmer swims to keep from drowning, out of necessity. Maybe Ghost Opera is partly about disintegration – everything is shaking and falling down, and asking for an “I love you” is like asking for this tired cliché to anchor you. The beauty of your design is a perfect title for a society in which there’s nothing but image. Has The Picture of Dorian Gray of Oscar Wilde become a prophecy? I‟ve actually never read Oscar Wilde. I would say Mary Shelley‟s “Frankenstein”, and the film Blade Runner were greater influences as far as that song is concerned. I‟m fascinated by the idea of human-playing-god, and also by ideas of control and power in interpersonal relationships. I hear that song as being occupied with mortality, fragility of form, human attachment. It could also be a love song from Frankenstein to his monster. I like to keep it open. I don‟t have distinct or static notions of what my songs are about.
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The one that cuts my roses down is the one that I'm loving. Where’s the boundary between love and addiction? I doubt that there is one universal boundary, I think most human states are murky, and overlap a lot. I guess something becomes seriously addictive when you need it in order to „just be‟ and when it eclipses your faculties of reason. That line to me has to do with power and control, where one person has the power to give and to take away the happiness of an other - which seems to be a common situation, or something most of us can relate to… for e.g. the lyrics to that classic song “You are My Sunshine.” Why Old fashioned love has a more hopeful air? I just wrote a sweet love song, and I don‟t like my albums to be too governed by any single aesthetic, so I didn‟t want to edit it out just because it‟s a bit of a non-sequitur. I like sweet love songs,
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and it was a real joy to sing with Tomathy Daly Chandler – he is an amazing singer and experimental folk artist from the UK. (http://tsinderash.bandcamp.com) An angel from Madagascar brings the idea of a painful love again. What need is bigger, desire or feeling desired? It depends on your character, probably. Measuring emotional need is impossible. I think that song is life-embracing and playful in a „bring it on‟ kind of way. Pain is unavoidable, I think it‟s ultimately more devastating to try too hard to avoid it. Your album has a raw sound and your voice sounds completely naked giving us a desperate feeling. Is it hard to sing these songs live? No, I love singing live. But yes, I don‟t like singing these songs over and over, or spending too much time with any of my past work. I get tired of my songs quickly, it can be difficult for the people I play with sometimes. My live shows are living, changing things, and I always play plenty of new songs. It‟s not emotionally hard for me to sing live though, unless I am having a really horrible day, and then everything is harder, right? Performing is very freeing, and also demands a lot of concentration. I have to be wholly present, and so I can‟t be reliving any single painful experience when I sing, I live something new each time I perform. My words are stones cast into the sea. Are we prisoners of words? Obviously, I love words and I spend a lot of time with them. But I also recognize that words are often impotent. There is no magic combination of words that will, on their own, create a channel of communication. Communication is reciprocal, and no matter how compelling, clear, or beautiful a song, poem, or love letter is, if someone is not receptive to it, they will not hear it. Parents and sons, lovers, friends... Every relationship has always an end. Does a breakup mean a closed or an open door? I don‟t know. It would depend on the situation and the people I guess, I have a lot less answers and more questions about all these things. I tend to shut doors and open them again… and shut them again..and open them… etc. I struggle with those things as much as the next person, maybe more. My music is full of questions, but I don‟t know if I have a single answer in there. I want to crawl back to the ocean for you...if my losing delights you, if my losing excites you. Do we only exist if someone else pays attention to us? Well, it‟s possible to belittle someone and make them feel unseen or unheard, if that‟s what you mean, sure. But to me, that line is funny. There‟s so many love songs where someone will do suchand-such for the other, and that song is saying: I‟ll devolve for you, I‟ll lose my limbs and my lungs, I‟ll turn back into a fish for you! That is romantic. Protect me from all my desire, numb me to the one I love. Are we able to live? I guess sometimes we are and sometimes we aren‟t, if „live‟ is defined less literally, and can speak to feeling things deeply, going through various hells, not hiding from parts of life and painful experiences. I hesitate to explain my lyrics, I write them from a place in myself that is far removed from the place that I am thinking from right now. These answers feel sort of like a stranger‟s voice-
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over commentary in another language. I hear that song as an expression of the desire to find sanctuary away from feeling and emotional upheaval for a while. That‟s probably what a „death-wish‟ often is, more of a desire for space away from pain and upheaval than a literal desire to die. To sing openly about that kind of a death-wish is life-embracing in my mind; being able to connect and communicate about an isolating experience is a way of breaking out of isolation. It makes me a bit nervous to analyze my songs. But it‟s comforting that I feel at a loss while I‟m doing it, it means I am unable to explain them. I don‟t want to make work that I can explain. She’s completely right. The best thing we can do is to listen to her voice expressing songs that can take us to the depth of her enormous poetic talent.
Interview by Juan Carlos Romero First photo by Clara Engel, the rest ones by Emma Lee www.strippedmedia.com
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FREE LOVE Kat Boelskov 53
Kat Boelskov hurts in sounds and words. Her recent Amateur (2010) is a big proof for every ear accustomed to walk on the brightest side of life. Her lyrics are full of raw honesty about the sentimental links but also burning desire to live and look for new questions and create new answers. Her continuous evolution proves that a broken mirror can be the birth of something precious. Darkness surrounds your voice singing desperately like a soul caged. Isn’t Everything enough? Sometimes everything is too much! The desperation stems from not being able to contain the happiness coming from having EVERYTHING you want, just then and there. Itâ€&#x;s like a pressure cooker!
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Your body must express these feelings, shout it out, WWRRAAAGGHHH to a degree that leaves you unable to actually just enjoy and appreciate the moment. Suddenly, your soul is finally disengaged but nothing left to achieve after a painful love that you feel as an industrial sound that hurts too much. Isn’t love a part of the real world? It is, though sometimes love can be a construction that isn‟t „real‟ as such. Merely something you imagine or wish it to be. Coming back to real world you sing a Tapestry of regrets. Don’t you think that is a big mistake to identify love with happiness? That depends how you define love. I believe love is essential to happiness, but does not have to be limited to the romantic notion of love between two people, in the conventional „relationship‟ sense. Feelings of love can exist between friends, family, or in any kind of brief positive relation. There is love of art, nature, a good book, the view from a certain rooftop, good sex, or love of your work when you get in a creative flow. It‟s in the little things as well Peace gives some light to the sound of the album but you need isolation to get it. Are people the devil? They can be! I often despair of mankind as a whole. What is wrong with us? How can we be so evil? I tend to bury my head in the sand to an embarrassing degree when it comes to following the news or engage in politics. I simply can‟t handle it, knowing what„s going on in the world. Honestly, I often think I will never have children, as I don‟t want them to experience all the evil ways of the world.
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A funny song called Girls in love in contrast with the rest of the album. Irony? Not at all! Just a bit of fun. As it is my first album, I wasn‟t able to restrict myself to one sound or genre, I just went with whatever I felt, and let the songs take the lead to where they wanted to go. (Bonus fact: for this song, lasting 2.42 minutes, I managed to squeeze in the word „love‟ in 18 times.) This time has a dreamful air with your desire full of hope. Are you optimistic or naive? Must it be one or the other? I‟d define myself as optimistic, but definitely not naïve. I‟m hopeful, but not in a dreamy kind of leave-it-to-destiny kind of way. I‟m very determined, and work hard to achieve the dreams I hope will come true. Mood gives us a dark vision of society. Chasing the shadows of all too many dreams, infinite choices and possibilities. Is happiness for sale? In a word, no. I thing u should know makes me wonder if we’re able to be free. Is love free or is freedom love? This question touches on something that‟s been occupying my thoughts a lot lately. The idea of being able to let go, instead of holding on desperately to what or whom you love. I believe true love cannot exist without a certain amount of freedom. I dream of one day being able to love someone while at the same time grant them complete freedom. But of course it‟s not so simple, all the feelings of jealousy and low self-esteem gets in the way.
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Could you explain us how do you see the music scene in Denmark? I‟ve no idea how to answer this! I sense there are a lot of creative and talented people here but I just sit here in my little flat, where I make my music and do my promotion for it. I‟m actually targeting people outside of Denmark to become aware of my music, as I prefer to communicate in English. (Due to my 9 years in London). I don‟t really go out much, or interact with anyone in the music business. The word amateur has a Latin root that means to love something. Are you still an Amateur? All the way! I love what I do. Another definition is the opposite of a professional, i.e. someone who does not make a living from what they do. That‟s me as well, though hopefully one day this will change. The truth is her album has a lot of details to disturb us and take us to new places, with the lights on or turned off. Finally, light is inside us and Kat shows us hers as a beautiful one living in the eternal contradiction of research.
Interview by Juan Carlos Romero Photos by Sofie Nørregaard
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HOLLACE M. METZGER Paintings 58
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You move me
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Autumn
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Citystorm
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White noise
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Hypothetical - Psychotherapist
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Kind of Blue
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La nuit dans Montmartre
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The way he held the bottle of wine showed me a glimpse of how it was to be a person of the earth. He had for many years rolled around the vast fields of the North, covered by a gloomey sky constantly in fear of being about to cry. He had only known that feeling of wet guilt for all the things he had done hiding under the apple trees in the orchard his grandfather used to own when the hands of a man were still the best tools to create the wealth of a family. Now he walked around on two wheels scared of falling and breaking every single wish and desire he ever had on the stone cold London winter. The holes in his clothes were war wounds of the better times to come, ahead of us was the golden eternity, and behind a series of unfortunate, or ephemeral moments of bright truth soon to be forgotten. The things one learns walking in a field of crows, oh boy! Between all these fallen signs of a dying Autumn, brightly coloured wings of heavy rooted trees. I found that I had lost my skin, peeling off in the minus zero nights of this city, I screamed my poem out loud hoping that it'd arrive to you, as you were getting older and I was growing younger.
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KAYLA MARIE CRAIG Innocent lies 95
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BLACK FADE-OUT 12 FECINEMA Festival de Cinema Negre de Manresa 100 Everything is black, the origin and the end. Existence isn’t more than a useless road from our initial black to the wished light. In fact, black is light’s absence just for the observer and that’s like this because the whole light is contained in black objects. So our eyes just can see the objects that reject the light we finally see and the ones that contain it are black for us, a curious metaphor of our society which is born from our limited senses. Festival de Cinema Negre de Manresa, FECINEMA, get dressed in black since its first edition twelve years ago. So, one waits a festival containing the whole cinema’s industry light. This year’s program contained the light of the last works of Atom Egoyan, Takeshi Kitano, Bertrand Tavernier and the first full-length film by Paco Cabezas, Carne de neón (2010), which received the audience’s admiration and became the best official section’s film. I want to emphasize the big presence of European films with works as stimulant as Schemer (2010) by the television Hanro Smitsman or the magnificent Des hommes et des dieux (2010) by Xavier Beauvois. This is not a demerit of American cinema which was represented by as excellent films as The perfect host (2010) by Nick Tommay. Particularly, the retrospective dedicated to Claude Chabrol was very pleasant. He died few days before the festival. It was a great pleasure to see in a full screen some of his films which represent the best expression of European cinema. He was a deep black artist and also a bon vivant. The festival’s tribute to him was brief but extremely right. He was brimming with talent and sarcastic humour in films like Inspecteur Lavardin (1986) which was preceded in the program and his career by Poulet au vinaigre (1984). They were a little tribute to one of the main filmmakers in history who was present in the festival in previous editions. It must be reminded that Manresa is the town where Plácido (1961) by Luis García Berlanga was filmed. Berlanga had also died just a few weeks before. It’s true that it’s a caustic portrait of a prudish town but thanks to it Manresa became a main role in the first Spanish film nominated to an Oscar of Hollywood. Just Såsom i en spegel (1961) by Ingmar Bergman could avoid Manresa won that valued prize. So, Plácido became the best name for the FECINEMA prizes and Berlanga a magnificent reason for a tribute in that festival’s edition. We wish to FECINEMA a black future in the lighter sense of the word.
Text by Juan Carlos Romero Photo by Marta Corcho Tarifa
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REFERENCES Vilde Stedal Kalvik http://www.flickr.com/photos/28882153@N06 Jeanne Cherhal http://www.jeannecherhal.net Richard Galliano http://www.richardgalliano.com Melancholy Maaret http://www.secretsaunasirens.com
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Sophie Bancroft http://www.sophiebancroft.co.uk
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Zola Jesus http://zolajesus.com Woo Ming Jin http://alternativa.cccb.org/2010/es/_films/fichaSO.php?_film=00108 Mooi http://www.myspace.com/reneemooi José María Nunes http://nunescine.es Hollace M. Metzger http://www.hollacemetzger.com Olivia Adriaco http://www.myspace.com/oliviaadriaco Clara Engel http://claraengel.bandcamp.com Kat Boelskov http://www.katboelskov.com Derek Moench http://www.facebook.com/profile.php?id=1227794325 Gala Knörr http://web.mac.com/gala_knorr Kayla Marie Craig http://www.facebook.com/pages/Kayla-Marie-Craig/177955778907502 FECINEMA http://www.cinemanresa.com/
NAU NUA DECEMBER 2010 EDITION NUMBER 3 PUBLISHED BY POR NAU NUA ART MAGAZINE http://naunua.blogspot.com CONTACT naunua@live.com
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