SHOOT ME Magazine ISSUE #09_NOV_013

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COVER BY GEORGE PANTOOL

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Shoot me /ʃuːt

mi/

1. hit me with a bullet 2. take my picture 3. throw me out of a canon, hit me with your arrows and help me discover a new side of me (an artistic side)

4. kill my old self, revive me.

Art revolving /ɑːt

rɪˈvɒlvɪŋ/

1. swirling art 2. the ever-rotating art. rotating around itself, around me, across the universe.

3. the art that never seizes.

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2013, ATHENS / GREECE info@shootmemag.com \\ p u b l i s h e r // a r t d i r e c t o r

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\\ content coordinator

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IRO JAGUAR

\\

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|||||© SHOOT ME Magazine | 2013 | CONTENT OF THIS ISSUE IS COPYRIGHTED BY THE FEATURED ARTISTS AND CANNOT BE USED WITHOUT THEIR WRITTEN PERMISSION |||||||||||||||||||||||||||||||||||||||||

\\

ISSUE #09 NOV013

COVER by George Pantool

\\ FEATURED ARTISTS GIORGOS SALTAFEROS TIM DECHENT JASON BELL GEORGE PANTOOL \\ FEATURED PROJECT TRICKY

by DIMOSTHENIS LOUKISSAS

s

D ES IGNE R’ NOT E

“...Just a funny thing...

I'm forever drifting into dreams Just not the proper thing

to dreams..” to always be drifting in "Love Makes You Feel" by Lou Reed

____Enjoy our 9th!

Ba ng!

Bang!

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Giorgos Saltaferos La mer est ton miroir

TIM DECHENT Being free is a lot like being lost Midi ‘ ‘ -Pyrenees" Helmut Newton Paris Berlin

JAS BE Thro h len

Exhibition Grand Palais 2013

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The TRICKY project

The writing is on the wall

SON ELL ough is ses

GEORGE PANTOOL Walking London collective

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acrylics on canvas // 50x50cm

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Mer M la

© GIORGOS SALTAFEROS

e

Miroir

est ton

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>>>>>>>

Š www.saltaferosgiorgos.com

ioriM noT tsE reM aL

acrylics on canvas // 80x170cm

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© www.saltaferosgiorgos.com

All along people have been looking at the moving or still waters in amazement.

The relentless game of mirroring has been inspiring those who are involved in poetry, painting and music and are challenged to bestow the rapid changes a slight pictorial shape.

George Saltaferos falls into the circle of the artists who have inner pursuits and experiment.

The subject of the sea has been accompanying and formulating the artist since his early youth.

An Aegean Sea ‘child’, he has experienced and gone deeply into the multi-faceted aspects of presentation of the saline element capturing its whole essence.

Baudelaire’s poem “The Man and the Sea” is portrayed in a Saltaferian way – he picked a line as the leitmotiv for his exhibition:

“the sea is your mirror.”

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Š www.saltaferosgiorgos.com

From 2011 up to the present time a great artistic group has been created, in which Saltaferos has accumulated his observations, his emotions, memories and fantasies on poetic painting.

He leads the observer to his works of art very closely onto the water. He gives the impression that someone is sitting on a boat and is approaching banks with hidden secrets, a feeling of arrival rather than one of departure. The observer has his back turned to the horizon, which is perceptible though not directly visible.

Saltaferos intentionally exempts the horizon of nostalgia.

This omission, nevertheless, boosts its presence in the exhibition.

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acrylics on canvas // 115x170cm

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ioriM noT tsE reM aL

acrylics on canvas // 120x130cm

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“Free man, you’ll always love the sea - for this, That it’s a mirror, where you see your soul In its eternal waves that chafe and roll; Nor is your soul less bitter an abyss.”

-Charles Baudelaire, 1821 - 1867 Beginning of 14th poem "Man and the Sea" from "Flowers of Evil" (published in 1857)

© www.saltaferosgiorgos.com The complete works of the “Mirrors of the Sea” theme is saturated with a profound basis of red, black and blue, engulfing thus the images into one unity. The dark spots on the water lead from the dimly-lit surface to the mysterious, dark bottoms of the sea.

The warm red tones around act as blazing coasts. These works of art which at first sight are taken to be water images, create streams of thought associated with the four elements, water, earth, wind and fire. They can be interpreted and experienced synesthetically. The presence of smell, taste and sound of the water reinforces and alters the optical impression.

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© www.saltaferosgiorgos.com

Since his student years at the University of Bern, Saltaferos has made a reputation for the flawless technique of his composition. What is more, in this group stands out the persuasive streak of the stable and rich in variations imagistic architecture, with which he confronts the vital element of the water. In the WORK No 1(p.18) he cites in a daring and impressive way the clear blue mirroring of the sky on the dead right corner, achieving thus a creative stimulus on the painting. Also in the painting WORK No 4 (p.26), which reminds us of the scenery at the banks landscape of the “Island of the Dead” in Brooklyn, he proves his mastery in composition.

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acrylics on canvas // 90x180cm

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acrylics on canvas // 120x130cm

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“Soul of man, How like to the water!

Fate of man, How like to the wind!

-Johann Wolfgang von Goethe, 1749 - 1832 1779 from “Song of the spirits over the waters”

Š www.saltaferosgiorgos.com The images boost activity.

They force the observer to move in front of the painting, to distantiate himself, to approach. For proximity and distantiation can reveal totally opposite perceptual values of a totally similar work of art. At close distance, for example, one can identify the minute calligraphies of the paintbrush, which coincide with the lavish rhythms of a surface from a distance.

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Š www.saltaferosgiorgos.com

Water, sea and waves are transformed into a life metaphor. Both Goethe and Baudelaire have associated water with human destiny, a fact which many people perceive of in a similar way. Saltaferos achieves this combination. His works of art are contemporary water depictions, through which the observer can find his/her own internal pictorial worlds. His paintings invite us to paint further with the thought, to be transported by the slow motion to the powerful vibration outside the painting domain.

In this respect the paintings can be also understood as a plea for traveling into thought and against stagnation.

Accordingly, they transfer their energy to the observer.

Katharina BĂźtikofer, Bern Artist, Curator and Tutor at the University of Bern Bern, Switzerland

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La Me

25 acrylics on canvas // 120x130cm

er Est Ton Miroir

La Mer Est Ton Mir

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acrylics on canvas // 135x125cm

© www.saltaferosgiorgos.com

roir

La

GIORGOS mer est

Duration: 31 October – 23 November 2013 Location: Gallery Genesis, 35 HARITOS Street, Kolonaki 10675- Athens, Greece. www.gallerygenesisathens.com

SALTAFEROS ton miroir

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HELMUT NEWTON P P a r i s -B B e r l i n E x h i b i t i o n

G r a n d

P a l a i s

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Foun, the Helmut Newton With this exhibition his work. ary: rs on lives on through lebrates an annive dation in Berlin ce s ago, in the fall of Yet Helmut Newt ons are organten year r exhibiti on estab- Regula presented not only in 2003, Helmut Newt d an on and en- ized de available on lished his foundati , th Berlin but ma wi p hi rs ne rt pa stitutions a tered into loan to various in ge ta ri He al ur lt The 2012 Cu . the Prussian throughout Europe eam fr e th in d Palais th an Wi Foundation. exhibition at the Gr rt pa e at iv pr ic example. bl ch one su work of a pu nsive in Paris is he re mp co rehenmp co a nership, This was the first , ts in pr al in wton’s ig Ne or on of collection of d sive presentati an s er st po pital on ca ti bi ch vintage exhi work in the Fren y wa r ei th was de ma It s ct h. archival obje city since his deat on ever of ty ci ve ti na ti to Newton’s the first exhibi t loan. In also s of a phoBerlin on permanen to present the work a g in ow ll fo 04 20 e walls of the summer of tographer within th e th , on ti va no re exhibition brief period of this illustrious ed en op y ph ra og ot bition reMuseum for Ph space. Now this exhi ry ta li mi er rm fo for a show its doors in a turns to its source bi hi ex le ub do path it has casino, with a in Berlin, and the f el ms hi er ph ra d in its tion. The photog taken is reflecte ce en ri pe ex to ites essenwas never able title. The show un in ay aw ed ss pa 29 e photograthe show, as he tial series from th s it re fo s, be de y nu tl or n, sh io s sh le fa ge : An re s Lo pher’s oeuv the mixed opening. portraits, as well as characterforms that were so pher. More istic of the photogra s in black than 200 photograph e featured Helmut Newton & white and color ar cluding in Nova in various formats, Paris, 1973 . ts vintage prin © Helmut Newton Estate

While some of these images have been shown in earlier exhibition contexts at the Hel Vogue. Newton expanded upon mut Newton Foundation, others this combination of clothed are presented here for the and nude models starting in first time. With every new the 1980s with his famous series “Naked and Dressed.” The combination, new dimensions of series was published in his the work of this renowned pho - third photography boo k Big tographer allow themselves to be discovered. Customary ex- Nudes as well as in the Italian and French versions of Vogue; pectations are challenged by by this point, such renowned the side-by-side presentation of an iconic image such as “Ru fashion magazines no longer e held the motif combinati on for Aubriot, Paris 1975” with a taboo. Two diptychs from the second shot of the same motif, to which a nude model has bee series that were shot in Rue n added. Here, Helmut Newton Aubriot earlier, in the midphotographed a tuxedo by Yve 1970s, are also included in s Saint Laurent for French the current exhibition.

Vogue; this is hardly unusua l – notwithstanding the fashio n designer’s revolutionary cre The exhibition als o presents ation – but the manner of pho numerous portraits of notable tographic staging is figures ranging from Pierre unrivalled. Like a still lif e, Cardin to Margaret Thatcher, a female model with short hai fashion photograp hs for magar stands self-assured, smokin zines from the 1960s through g at night in a narrow, dimly lit the 1990s, nudes, as well as alleyway; she appears to wai product shots. Ano t ther highfor no one. Two associations light are the “Fi red” images: from the history of art and the legendary Cou rrèges photophotography immediately com graphs that wer e first pube to mind. The first: Ernst Lud lished in 1964 in the fashion wig Kirchner’s nocturnal magazine Queen, and which restreet scenes of Potsdamer sulted in Newton ’s immediate Platz from the early 1910s, in dismissal from Vogue. These which he documented fashio n- images brilliantly translate ably clad women standing in a the ultra-modern designs of tension between prostitution the French design er into the and a modern, urban lifestyle photographic ima ge, challeng.

Further parallels can be fou convention nd ing with the with Brassaï’s portraits of women’s pants, the above-theprostitutes, many of which he knee dresses, and above all photographed in the Parisi spectacular an the space-age quarter of Le Marais in the look. At the tim e, the image 1930s. Forty years later, New and social status of women ton also selected this quarter were 30 undergoing radical as the backdrop for his fas h- change. Newton photographed ion photography. In his second the Courrèges mod els without photograph of the model, at accessories in narrow, clausthe same location but now wit trophobic spaces , whose metal h a nude model at her side, New walls reflected and multiplied ton intensifies the alread the clothes and the y models. confounding androgyny of the dressed woman. The combinati on of a clothed with a nude wom an in the context of fashion was radical for its time and unHelmut Newton Tied-up Torso fitting for publication in a Ramatuelle, 1980 fashion magazine like French © Helmut Newton Estate

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1949 in Gorman was born in y lives tl en Kansas City and curr ched his un la He s. le ge in Los An y while ph ra og ot ph in career nsas City, still a student in Ka of Jimi ok with pictures he to t in 1968. er nc co a at Hendrix ia, Gorman Later in Californ business, remained true to show numerous and in addition to s, 60 19 e th of d otographed Later, at the en commercial jobs, ph n io sh fa ed ph and musiNewton photogra primarily actors rmi g in nd ou nf e likes of for Elle in a co cians, including th ny Depp, oph e th me ti Jolie and John rored room; this himself Angelina s al ve d David re r he ap togr chael Jackson, an Mi l al sm s hi th e iconic behind the women wi wie. Some of thes Bo th Wi . ot sh e s were format camera in th k & white photograph ac bl on ry ta en mm others his self-ironic co ed as film posters; us on ti ec fl re d of CDs the work process an ared on the covers pe ap on wt Ne , lf LIFE, on the medium itse magazines such as or . me Stone, and was ahead of his ti Newsweek, Rolling me he e. At the same ti oggu Vo s wa on wt Ne ploring nude phot On occasion, Helmut elf in started ex ms hi ph r workra og ot ph to known y, often at plein ai ph ra so al he 74 second the buff, and in 19 s conducted at his op sh ut lm He d small portrayed a nake in Mendocino, a me ho r, ve we ho San Berger; in general, community north of st ti ar al in rg ma of anythe male nude was sco. For this accomp ci an Fr on Up . rk wo Gorman significance in his exhibition, Greg g in o wh , on wt Ne Newton selected 25 invitation by June Alice and June m ny bedo eu ps e th under that were created fs ti mo oph the occasionally Springs 1988 and 2012, for n ee tw e th s, de Gorman’s studio tographed male nu pher most part in ra og ot ph it ra rt po s. Pictured alone American se- in Los Angele a t en es pr ll wi an the young men Greg Gorm ow or in groups, sh a in s de nu le the camera like ries of ma wton move before Ne ut lm He e th to an empty stage. parallel e’s dancers on un “J in re He . portraits are exhibition g, Gorman’s nude un yo r te un co en d sensual.

Room,” we e both timeless an it wh & k ac bl in es trained bodi rmats, some portraiture prints in various fo Even today, nude . ed iz -s fe li considered ly of them near of male models is aces. Alpl improper in many Montreux y though the legendar a male ed ud Jazz Festival incl its on an nude by Greg Gorm the , ar ye festival poster last to conas model was posed so However, . ls ta ni ge s ceal hi e case th this is not always Gorman by s with the photograph the at y that are on displa on.

Greg Gorman ti Helmut Newton Founda Three Boys Jumping 1991 © Greg Gorman

er - Dr. Matthias Hard

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Helmut Newton Fat hand and dollars Monte Carlo, 1986 Š Helmut Newton Estate

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Helmut Newton: Paris-Berlin. Exhibition Grand Palais 2012 Greg Gorman: Men Opening: Thursday, 31 October 2013, 8 p.m.

Duration: 1 November 2013 â&#x20AC;&#x201C; 18 May 2014

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being free is a lot like being lost >>>> ΄ ΄ Midi-Pyrenees

© TIM DECHENT

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1.000km in

a car our feet

90km on a pilgrimage an adventure a hike France

GR 65 2013

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Courtney Love for Vanity Fair

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© www.jasonbellphoto.com

>>>>>>>

L

THROUGH

his

ENSES

© JASON BELL

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Emily Blunt for Harper's Bazaar Australia

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Henry Cavill for Warner Bros

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Rebecca Hall for Vanity Fair

Š www.jasonbellphoto.com

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Dan Stevens for Vanity Fair

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Jessica Ennis for British Vogue

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Tom Hardy for Vanity Fair

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Š www.jasonbellphoto.com 82 Dolce & Gabbana, Kate Hudson, Stella McCartney, Perry Oosting, Eva Herzigova / VOGUE Festival 2012

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Claire Danes

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Emily Blunt for the National Portrait Gallery

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Courtney Love for Vanity Fair

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Cast of Dark Shadows for Warner Bros

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The Daughters of Downton Abbey for British Vogue

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Damian Lewis & Helen McCrory for British Vogue

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Š www.jasonbellphoto.com Robin Williams / The Crazy Ones Campaign

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Steve Coogan for Vanity Fair

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Chelsea Clinton for Glamour USA

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Cast of Steven Spielbergâ&#x20AC;&#x2122;s War Horse for Vanity Fair

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TRICKY project

the

>>>>>>>

Part #09

Š Dimosthenis Loukissas www.facebook.com/TheTrickyProject

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TRICKY isdust Š Dimosthenis Loukissas www.facebook.com/TheTrickyProject

!

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submissions@shootmemag.com

SU B MI SS IO NS

walking LOND ON collective

>>>>

© GEORGE PANTOOL

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love ya!

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thinking Tate

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gimme

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old times

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>>>>>>>

the writing is on the

!

Wall

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somewhere in Athens, Gre ece

*”you’ll never know how much

I loved you!”