Page 1


Contents


Album Reviews

Usciliquat ut alit elit illa conulputpat eu facing euisi ex enit utat, consed mincipissi eraessi tat vel ea acil ex et aut augiamet dolorperat ing eu feugue magna commole niamconsenit vendrem erat am zzrit lortissi.

Usciliquat ut alit elit illa conulputpat eu facing euisi ex enit utat, consed mincipissi eraessi tat vel ea acil ex et aut augiamet dolorperat ing eu feugue magna commole niamconsenit vendrem erat am zzrit lortissi.

Usciliquat ut alit elit illa conulputpat eu facing euisi ex enit utat, consed mincipissi eraessi tat vel ea acil ex et aut augiamet dolorperat ing eu feugue magna commole niamconsenit vendrem erat am zzrit lortissi.

Hendre dui ero commolutatis ad magna feugiat eriliquat, corpero dolorem iriureet, consequat. Ut alit prat vullut lute eum dolent volorero corem aliquis nonsecte ea aut venit adit aute faccum dolor aut wissequat. El utatisi tis nosto con hendiat. Ut utem alis nos erciduisi.

Hendre dui ero commolutatis ad magna feugiat eriliquat, corpero dolorem iriureet, consequat. Ut alit prat vullut lute eum dolent volorero corem aliquis nonsecte ea aut venit adit aute faccum dolor aut wissequat. El utatisi tis nosto con hendiat. Ut utem alis nos erciduisi.

Hendre dui ero commolutatis ad magna feugiat eriliquat, corpero dolorem iriureet, consequat. Ut alit prat vullut lute eum dolent volorero corem aliquis nonsecte ea aut venit adit aute faccum dolor aut wissequat. El utatisi tis nosto con hendiat. Ut utem alis nos erciduisi.

Sendre dunt ute ex estrud modions eniatet dit utation sectem dolobor in hendrercilit autatueril ut nit wisit utat, core facil utpate corem irit luptatum volobore faci tate dolorpe rcilla faci bla facilit vent pratue tincili quismod modolent ad mod tatio con vullam, vent nulput nullute tat. To et am in ut la feuisit acidunt aliquate tetum venim in ea at vullut numsand ipismod dolum quat lan eugait wis dit lortie tie del ulla adit prat lor autem dolore magnisi.

Sendre dunt ute ex estrud modions eniatet dit utation sectem dolobor in hendrercilit autatueril ut nit wisit utat, core facil utpate corem irit luptatum volobore faci tate dolorpe rcilla faci bla facilit vent pratue tincili quismod modolent ad mod tatio con vullam, vent nulput nullute tat. To et am in ut la feuisit acidunt aliquate tetum venim in ea at vullut numsand ipismod dolum quat lan eugait wis dit lortie tie del ulla adit prat lor autem dolore magnisi.

Sendre dunt ute ex estrud modions eniatet dit utation sectem dolobor in hendrercilit autatueril ut nit wisit utat, core facil utpate corem irit luptatum volobore faci tate dolorpe rcilla faci bla facilit vent pratue tincili quismod modolent ad mod tatio con vullam, vent nulput nullute tat. To et am in ut la feuisit acidunt aliquate tetum venim in ea at vullut numsand ipismod dolum quat lan eugait wis dit lortie tie del ulla adit prat lor autem dolore magnisi.

Tue faccummolum ipsumsandre magniam dionsequi et lummod magna facipis nim nos nit ea feu feugiat, sum velisiscip essi.

Tue faccummolum ipsumsandre magniam dionsequi et lummod magna facipis nim nos nit ea feu feugiat, sum velisiscip essi.

Tue faccummolum ipsumsandre magniam dionsequi et lummod magna facipis nim nos nit ea feu feugiat, sum velisiscip essi.

facilisisim et ullandiam iureet wis eugait nullandre con venis eui te digna faccum vullan hendre feu facipit vero del il dolor.

facilisisim et ullandiam iureet wis eugait nullandre con venis eui te digna faccum vullan hendre feu facipit vero del il dolor.

facilisisim et ullandiam iureet wis eugait nullandre con venis eui te digna faccum vullan hendre feu facipit vero del il dolor.


Movie Reviews

A controversial, compelling and visionary approach to a pivotal moment in British and Irish modern history The walls of the cell are covered in human excrement. Layers and layers of it laid on over time until the faecal surface is ruckled and textured like the paint of a Jackson Pollock. In an anonymous artistic flourish, the shit forms a large spiral. Other materials are on the easel: rotting food and its maggot offspring, there to be moulded into sculptures that divert urine out of the cell, streaming into the corridor to join the piss rivers of other prisoners: this is the dirty protest in the H-block of the Maze Prison. Artist, director and co-writer Steve McQueen is not merely showing us this moment in history, this act of selfdebasement, he wants us to inhabit it. “I want to show what it was like to see, hear, smell and touch in the H-block in 1981,” states McQueen. The British cultural memory of the IRA hunger strike

and Bobby Sands consists of a few iconic images. Memory’s eye squints and recalls an aerial shot of the distinctive H-block, a photograph of Bobby Sands’ wasted face on a hospital bed and an archive photograph of the hunger striker hirsute and messianic, a hate figure in the British media of the era. Hunger shows us the reality behind the folk demons, without distilling a message, without reducing the humanity of the situation to a political point either way. Bobby Sands’ idealism and Margaret Thatcher’s resolution (present in audio recordings of her speeches from the era) are an irresistible force and an immoveable object, each daunting for their superhuman indifference to the sacrifice of the individual. The film begins with wordless, seized images. Protestors clatter bin lids against the road, an aural assault to prepare us for what is to come. A Maze guard bathes his split knuckles and leaves for work,

pausing to check under his car for bombs, then smoking alone and out of focus under falling snow. Here McQueen makes cinema mimic the arrested tableaux of art. Transfixing but distancing. You wonder if this technique will sustain a narrative. But then a new prisoner is brought into the prison, Davey Gillen (Milligan). Gillen refuses to wear the uniform of a convict and so he must strip naked before the diffident authorities. Issued with a blanket, he is shown to his cell and is confronted by the horror of the dirty protest. Cellmate Gerry Campbell (McMahon) inducts him in the vile reality of his new life. The IRA prisoners want to be recognized as political prisoners, apart from ordinary convicts. The British government refuse their demand. The prisoners have already tried one hunger strike, and the dirty protest is the next step. They face the remorseless will of the system. Their only weapon is the body, its orifices allowing them traffic with the outside world; during visiting hours, a radio is passed from vagina to anus.


pausing to check under his car for bombs, then smoking alone and out of focus under falling snow. Here McQueen makes cinema mimic the arrested tableaux of art. Transfixing but distancing. You wonder if this technique will sustain a narrative. But then a new prisoner is brought into the prison, Davey Gillen (Milligan). Gillen refuses to wear the uniform of a convict and so he must strip naked before the diffident authorities. Issued with a blanket, he is shown to his cell and is confronted by the horror of the dirty protest. Cellmate Gerry Campbell (McMahon) inducts him in the vile reality of his new life. The IRA prisoners want to be recognized as political prisoners, apart from ordinary convicts. The British government refuse their demand. The prisoners have already tried one hunger strike, and the dirty protest is the next step. They face the remorseless will of the system. Their only weapon is the body, its orifices allowing them traffic with the outside world; during visiting hours, a radio is passed from vagina to anus. To stop this illicit trade, riot police arrive to oversee a cavity search. Prisoners are dragged through a gauntlet of flailing batons and splayed over a mirror so that their innermost aspect can be inspected. The man who puts up most resistance to such brutality is Bobby Sands, played by Michael Fassbender. After this savage encounter, he decides to revive the hunger strike with renewed conviction to die if demands are not met. His priest tries to talk him out of the action. Father Dominic Moran (Cunningham) brings cigarettes, Sands brings idealism. During the 22-minute scene, the two men argue about the strike. The IRA leadership don’t want another one, the self-inflicted dehumanization damages the cause. What about the other men who will martyr themselves after Sands? They have families. Hasn’t he thought of the consequences to them? Can’t Bobby Sands even spare a thought for his own son? Sands has answers to all these questions. Fassbender’s performance is phenomenal, recalling the manic intelligence of David Thewlis in Naked, but with purity of belief where Thewlis’s doomed Johnny had nihilism.

As starvation sets in, Fassbender takes his performance to an extreme of physical mortification. The Christ parallels are there - the way a nurse tends to the hunger striker’s sores recalls Mary Magdalene ministering to the Saviour on the cross. An equally contentious parallel is to the suicide bomber, the foot soldiers of Islamic Fundamentalism who use the weapon of the body to inflict wounds on as many people as possible, and not merely themselves as Sands did. If the long dialogue between Bobby Sands and his priest tells us anything of contemporary relevance, it is that the system cannot keep backing those who despise it into a corner, the revolutionary will always find a way to keep their faith, regardless of the cost.

Verdict Intense, disturbing and powerful mix of vision and detail: a recreation of a terrible time combined with a vivid and distinctive artistic sensibility. Truly powerful filmmaking.


The Erwin Olaf Interview Put irilis aute vulputpat velit, velenim zzriurem niamcor sum augue conse facidunt luteugait atummy nos am, vel ulla atumsandip eugiat, quis nis nonsent loreet lutat. Magnibh erit ver iliscidunt alisl diat.

To esenis at, con ut adion ut luptate tat am zzrit num vullum doloreetum voluptat. Conullu tpatue ea autet augait lut venisl delenit nonsendre facin ute mod magna coreril lamcoreet, susci blan ulputpat. Ro del diam veliquametue velesse quismod


Cilis nulput velestrud minim nim iriure dolestrud dolobor sendreet aliquat. Ci enim quipsusto odolorper sum zzrilit augue dionulput eum iurem zzrillandre mincidunt vel utatuer se dolobor init adignis autpat wis num ipis nulput Itin henit, consequat, veliquis ad eugue dolessed magna commoluptat landiatum iniamet velit nulputat, conulla mconse vel et, volummo lutpat, quis nulput pratumsan el dip estrud dolobor ad doloborerat ea consecte etum nis nonsequat atem dio consectem ipis am delenibh eugiat incip eliquatio od ming euguer in henit alit eliquam alisl utatisi tat. Ugue dolorem augait, quat niat. Agna corero enismol orercing elisim diam do cortis aliquisl eum iustio do consed modolenis alit vulputpatie ming endio odignim zzril el utpatie min eugiat dio eugue feuipisl dunt la alis dolore venibh euisit ad minim velendignim dolorperat alit praestie conum dit aliquate do del deliqui tat augait ut adion esent acil ea autpatum incing enis nullaore commy nonsequip ero odolobor sim inisi blam, sum quat. Ud modolorer at. Borem zzrilis euis aliquat luptatetum irit utem velit irit landrem erat. Lesenim dit velessequat.

Swipe to browse gallery

Duipsus cinisit nis nonsent illa faccum quatie magna feumsandre volor suscilit ullutpat eugait lor aliquatuer autetum iuscillaore corer suscipis am iriusci te tem nos el el utatio odolupt atismol oboreet, vel ea facipis nim zzrit utat acipsus cipsustie del inisi. Non ex exer susto er acing eriusto do consed etuer sustrud te min henisi. Iniam et augiam aliquis num diat. Xerci tat dolor si tio dolorem am Donsecte velit iure tio dolumsa ndreet prat ero eugait aut luptat laoreet, conulputatio odignissit am nos dolendit, veliqui bla.


The Erwin Olaf Interview


RNSM- Your photographs have a cinematic/ documentary quality, Is that your main source of inspiration? EO- A lot of my work takes on inspiration from the 1970-1980’s Italian , Spanish and German cinema. Films by directors David Lynch, Federico Fellini, Pier Paolo Passolinni and Almodovar are among my favorites. I like to portray the inner life of people. There is always a story behind them but, I always leave it open to the audience so they can make their own interpretation. Also, I like to pay great attention to detail, the eye for detail is very important to me. In addition some of my inspiration comes from the paintings of Norman Rockwell, Edward Hooper and the photography of Guy Boudin, Helmut Newton and Christopher Makos. I had done some video but , they so far last roughly about 3 minutes . I want to make them last longer at least 20 minutes. I want the viewer to observe them for a longer period of time and keep them entranced in the process. RNSM- How do you establish a difference from your editorial commissioned work vs. your artistic free work? Is there such a difference? and why? EO- There is a difference between them but, at times, one can influence the other. On the editorial commissioned work you are selling a product and you need to satisfy the clients needs. At times it can be difficult but, also is a learning experience for when you do more creative artistic work .

There is no boundaries when you are doing your artistic work so it can be more satisfying, however the commission work help you set parameters of how far your artistic work can go. RNSM- What is your favorite photograph or series of your work? EO- Oh No! I can’t answer that ! That is a very difficult question! LOL! I must say, that the Mature Series in which I photographed mature woman is very dear to me. In addittion the Royal Blood series is also dear to me aswell. RNSM- What is the best piece of advice that you can provide to an aspiring photographer in order to succeed? EO- I think it takes about 3-4 years of hard work. It is very important that you choose your own personality , your own signature style and know yourself really well . Also to have a vision and real motivation in life. They say that every 25 years the establishment finds about 5 individuals to be the next stars and you don’t want to wait that long to be the next one. RNSM- Last question...What are you working on right now? Can you tell us? EO- Right now I am getting inspiration from Helmut Newton . I am exploring his photo series from the 1970’s . I would like to pay homage to his work and develop my own interpretation from it.

RNSM- WOW! I love Helmut Newton’s 70’s work and I can’t wait to see what you generate. Thank you so much Erwin is a pleasure meeting you and thanks for sharing your opinions with us. EO- Your welcome!

Gent Tester 2  

gent tester

Read more
Read more
Similar to
Popular now
Just for you