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PROMOTING STORYTELLING THROUGH PHOTOGRAPHY, FILM, WORDS, AND VISUAL ARTS.

MAY 2015 ISSUE 1


Collective Magazine THE ARCHIVE COLLECTIVE IS AN ONLINE COMMUNITY AND MAGAZINE THAT PROMOTES STORYTELLING THROUGH PHOTOGRAPHY, FILM, WORDS, AND VISUAL ARTS. ✄

! What is Archive Collective?

Archive Collective showcases art with substance. 
 Art that makes you think.
 


It encourages collaborative storytelling as a global creative community. The creation of a digital bank of images, memories, and reflections. Exploration and narration through different sensory perspectives.

LAUNCH EDITION This Month’s Contributers

Tess Johnson | Zuri Camille de Souza | Pjotr Eijkenboom | Petros Koublis | Eloise Oddos | Jose Miguel Buitrago | Evie Stevenson | Angèle Mouteau | Ruby Anna Casellini | Ryan McKenna | Sarah le Donne | Zisis Kardianos

www.thearchivecollective.com
 facebook.com/achivecollectivemag May 2015

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Cover Image by Zuri Camille de Souza


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THE FANTASTIC WORLDS OF TESS JOHNSON
 


COLLAGE

AFRIK’S SURREAL SOUNDSCAPES
 


SOUND MONTAGE

DREAM 
 


FANTACITY

ILLUSTRATIONS BY ELOISE ODDOS


 ZURI 
 CAMILLE DE SOUZA

RUSSIA EXPOSED
 


SERGEY PROKUDIN-GORSKY

TRYTH EVIE STEVENSON

SPACES 
 


ZURI CAMILLE DE SOUZA REFLECTS

INK AND COLOR 
 


OFF SEASON
 
 ZISIS KARDIANOS

STILL LIFE

3615

ANONYMOUS

ARCHIPELAGO 
 


RUBY ANNA CASELLINI

CONTROVERSIES RYAN MCKENNA

BUS JOURNAL SARAH LE DONNE

INLANDS PETROS KOUBLIS

FILM PHOTOGRAPHY PJOTR EIJKENBOOM

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TESS JOHNSON CREATING WORLDS OF ADVENTURE AND SURPRISE THROUGH COLLAGE.

looking around, but they refuse to merge in perfectly. And it’s no wonder; they come from a different page of a different book printed far away in a publishing house of a different day and age. Like time travellers sucked through a portal, they find themselves in a world that is so distant from their own and yet the assemblage works wonderfully. //

Tess Johnson’s collages draw you into dreamlike worlds of surprise, imagination and contradiction. In these worlds, disjointed limbs, flora, sprawling landscapes, household objects and galaxies come together to produce new and impossible modes of being. The ordinary sits side by side with the absurd; contrasting banalities of everyday life with the deep inner realms of psychic fantasy.

Then there is the numinous. Many of Tess’ collages embody a feeling that is hard to pinpoint with language. It’s the feeling of standing at the height of a canyon, looking down at thousands of years of erosion, and feeling really, really small. It’s the feeling of awe when you look into the face of true, overwhelming power, like seeing the sea for the first time. Or, like standing on the edge of a diving board and looking down at the milky way below you (image 1.3.). Images often prove to be more adept than words at communicating sensations that are fleeting and unusual: frailty, emptiness, wonder, fascination. Despite their affective power, there is a fundamental lightheartedness to the images. They’re playful, they’re simple, they have a childlike naivitée to them. And we love them for it.

/ / / A theme that cuts through her portfolio is the pursuit of adventure- brightly dressed, all-American magazine models kayaking down rivers of flowers, winding down mountains and moon craters, exploring landscapes that are strangely disconnected from them. They are there;

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Tess Johnson is a Collage Artist/Designer/Explorer living and working in LA. 
 She sees the world through a multi-colored lens and draws her inspiration from nature, colors, shapes, light, layers and fashion. Besides collaging, she also does visual merchandising, painting, sewing, art directing, and textile design.

Images: Above Left: Sunbathe Mountain. Above Right: Moon Mountain. Bottom: Sunset Children.


Tess Johnson. Hands. 7


THE SURREAL SOUNDSCAPES OF

AFriK Jose Miguel Buitrago, a Chilean composer known for his artist name AFRIK and his DJ name HAITI, stitches together sound recordings, video clips and musical beats to create his surreal, hypnotic soundscapes.

! Afrik’s “songs” take you on a winding journey through forests, oceans, rituals and sensations. Influenced by the syncopated metrics of central African music, he creates textures that are sharp yet undulated, paying close attention to the synthetic structure of the music and its effect on the listener. The compositions can be thought of as Pandoras boxes: treasure chests full of memories, people, stories, and vibes. Where your mind takes you when you listen to these pieces is a highly exploratory and subjective experience based on the links you create between the networks of different sounds. The geographic and temporal diversity of the components adds to the feeling of movement in the listening experience:

the back and forth between Peruvian instruments, European voices, and African drums gives us a sense of traveling in time and space as the musical piece progresses. Each individual sound also holds a memory for the artist, as Afrik collects the sound recordings and video clips used in his montages during his travels in Peru, Chile, and beyond.

! Much of Afrik’s formation as an artist happened during a collaborative exchange in Berlin in 2012, where he soaked in the rich influences of the electronic arts scene. Since then he’s been working on various projects such as the Smiling Orchestra, a collusion of creative Chilean forces. Catch him play in New York next month- details will be posted on his website shortly

! //


Stills from Es Perdis
 AFriK 2009


DREAM. ELOISE ODDOS is a freelance illustrator who lives and works in Paris. She carefully constructs her collages from a variety of manual and digital media; the secret ingredients being newspaper clippings, botanical illustrations, and old postcards. Her inspiration is largely drawn from dreams and the subconscious, creating breeding grounds of escapism that reel you in by playing with space, colour, form and substance.

! Le Rêve de Margot // Margot’s Dream Je perds mes dents // My teeth are falling out L’Œil de Psycho / Interprétation / Le Rêve Psychologies Magazine / N°349

We caught up with her about her creative process, her inspirations, and about this powerful series of dream illustrations she created to illustrate the dream interpretation column of Psychologies Magazine between 2014 and 2015.


Le Rêve de Lea // Lea’s Dream Je tombe dans le vide // I’m falling into a void Psychologies Magazine / N°349


CAN YOU TELL US A BIT ABOUT YOUR BACKGROUND AS AN ARTIST. I’ve had a sensibility to the language of images ever since I was a child. But it was only when I studied applied arts that I became passionate about illustration. Images are seductive to me because of their aesthetics, their symbolics, their poetry. Lately I mainly work for media, event management and for individual clients. I’m also the creative director of an electronic music label, Seconde, founded by two of my friends in 2012.


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“IT’S A BIT LIKE PLAYING A GAME.”

HOW WOULD YOU DEFINE YOUR STYLE? My works are a potpourri of different styles. Digital montage/ collage. I bring together a lot of different ingredients, transform them, mutate them, and wait for that moment when beauty occurs accidentally. My most precious tools in this process are my imagination, scissors, a scanner, and Photoshop.

! TELL US MORE ABOUT YOUR CREATIVE PROCESS! I create my images by having fun with them! 


we feel that invited in. I’m particularly attracted to images that have multiple meanings, and different messages. The ones that are full of poetry, mystery, magic.

! WHERE DO YOU FIND INSPIRATION? Emotions. Energies.
 Memories.
 Dreams and nightmares.
 Music.
 Details, moods, the sky, landscapes, shadows and lights.
 Surrealism.

Sometimes, I have no precise plan when I start; I just let my instincts guide me. I begin by constructing a space, a scene, where I place characters, blending them with other elements. Things collide and clash, and then begins the sorting process, the choices, to give the image coherence. Everything needs to find its place and its role. It’s a bit like playing a game- the image’s development relies on a series of rules and constraints (form, format, layout) which I use to guide my process. The success of the image’s creation really depends on preserving a playful, fun approach. I have a database of images, sorted by themes, that I use in my works. I find them in vintage magazine, build them on photoshop, or draw them by hand. This particular series (the DREAM series for Psychologies Magazine) was partially constrained by the narrative that way given to me, which I had to respect to a certain extent, but I was certainly free to add my own artistic interpretation.

! WHAT’S YOUR FAVOURITE THING ABOUT ILLUSTRATION? Exploring another perspective, pushing the boundaries of my field of vision. I love the idea that you can stroll through an image; find its own individual path. When everything is fluid and indeterminate, when 12

Image: Le Rêve d’Annie // Annie’s Dream Je ne sais plus où je suis // I lose myself Psychologies Magazine / N°349

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FLASH BACK //

RUSSIA, EXPOSED COLOR

THE PHOTOGRAPHY 
 OF SERGEY PROKUDIN-GORSKY


Sergey Prokudin-Gorsky documented early 20th century Russia with his pioneering work in colour photography. With their flamboyantly psychedelic 90’s vibe, it’s hard to imaging that most of these images were made in the late 1800’s and early 1900’s. A chemist and a photographer, Gorsky brought his talents together in a series experiments with light, negatives, and optical filters, which led to the world’s very first color photos.

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The visual contradictions in Gorksy’s photography are simply mind-blowing. The color stains and vibrant borders jut out defiantly against the sleepy, static subject matter constrained within them. They bring a hallucinatory quality to the day to day scenes of pastoral life. Adding to the dissonance is the striking spatial contrasts inherent in the Soviet landscapeopulent Romanesque cathedrals framed by dusty, dry


Documenting the natural, architectural and ethnographic diversity of the Russian empire was an important part of S.P.G’s mission. In 1906 he travelled to Turkestan with the Russian Geographical Society to photograph a solar eclipse, during which time he passionately photographed the colorful monuments of Bukhara and Samarkand. The desire to use his discovery for a higher purpose- to capture and preserve images of Russia’s national beauty, was further intensified in 1907 when an earthquake in Turkestan threatened the fate of many historical monuments. In 1932 the Tsar Nicholas II grew enchanted with the collection of images and commissioned him to to document the natural colors and attractions across the Russian empire, from the Baltic Sea to the Pacific Ocean. Gorsky planned to create 10,000 images over 10 years, using them inspire and educate the younger Slavic generation about the beauty of their heritage.For

several years after his death, Prokudin-Gorsky’s magnificent collection was stored in the basement of a Parisian apartment. In 1948 it was purchased by the Library of Congress. and for several decades it seemed quite forgotten. It was only in 2001, when all the images were scanned, and uploaded to the Internet as public domain, that they resurfaced and were returned to be viewed within Gorsky’s own country.

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The entire collection can be viewed here and is truly worth a browse. There are thousands of photos, ranging from landscapes to architectural shots, to animals, people and historical relics. It lives on as a celebration of a spectacular country and a extraordinary artist’s life-vision.

“PROKUDIN-GORSKY CREATED HIS NEGATIVES BY USING A CAMERA THAT EXPOSED ONE OBLONG GLASS PLATE THREE TIMES IN RAPID SUCCESSION THROUGH THREE DIFFERENT COLOR FILTERS: BLUE, GREEN, AND RED.” LIBRARY OF CONGRESS 15


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LOVE / NATURE / SPACES

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Spaces, like memories, are formed out of experiences layered onto one another. How these textures, colours and forms interact with one another is relative to each individual's perception of reality. Love/Nature/Space is a visual representation of the process by which I recollect memories of people, nature and situations.

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All photographs used are taken by me. -Zuri Camille de Souza-


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3615


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Trentesixquinze ([3615]) Angèle Mouteau is a French illustrator. Her work is influenced by impressions she collected during the carnival season in Dunkerque, where she spent her childhood. She is inspired by the work of comic strip artists such as Glen Baxter, Raymond Pettibon, Honoré Daumier and Robert Crumb. Her drawing are carried out with patience and precision, using mainly ink, ballpoint pen and watercolors.

!

The bizarre, carnivalesque scenes of these particular drawings are a tribute both to her childhood and to the Belgian expressionist painter and print-maker James Ensor. Like Ensor, 3615 uses masks and colorful costumes to decorate the subjects of her compositions, giving them a theatrical and enigmatic allure.

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Masks create an eerie, comical, and gruesome kind of beauty. They temporarily replace ordinary appearance of the carrier with the hidden, subconscious face: the “persona.” Masks do not hide or conceal; they only reveal a secret interiority. They bring to the surface the desires that animate the being, animal instincts, grotesque expressions.

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ARCHIPELAGO

archipelagoˌɑːkɪˈpɛləɡəʊ noun 1. an extensive group of islands. "the Indonesian archipelago"


ALL

“ I WAS EVER LOOKING FOR IN MY WANDERING MIND WAS HIDDEN BEHIND THE COCONUT TREES AND WHITE SAND BEACHES.”

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RUBY ANNA CASELLINI IS A PART-TIME PHOTOGRAPHER CURRENTLY BASED IN MALMÖ, SWEDEN. THIS SHOT WAS TAKEN WITH A SMENA 8M (СМЕНА 8M) LOMOGRAPHY CAMERA IN INDONESIA, WHERE SHE GREW UP.

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ZURI CAMILLE DE SOUZA Graphic Designer, Artist


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MOST NEEDED ARE THOSE “THIRD PLACES,” WHICH LEND A PUBLIC BALANCE TO THE INCREASED PRIVATIZATION OF HOME LIFE. THIRD PLACES ARE NOTHING MORE THAN INFORMAL PUBLIC GATHERING PLACES, THE PHRASE “THIRD PLACES” DERIVES FROM CONSIDERING OUR HOMES TO BE THE “FIRST PLACE IN OUR LIVES, AND OUR WORK PLACES THE “SECOND.”

RAY OLDENBERG/ THE GREAT GOOD PLACE

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TRYTH

/ / POETRY BY EVIE STEVENSON

CANA On the Adirondack Mountains

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Some things had become sin by that point and that breeze carried away some of the guilt some of the frustration and the silence explained why I couldn’t forgive the truth The fool rises The wise descend

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I had seen great heights already on these skinned knees and these swollen eyes had taken it all in

The wonder- the lives of the girls who had waited by doors sat on floors- and wondered what the key really was If salvation was imminent and purification was expected

And nature be my witness- my soul My apology would echo miles away I had travelled through it all It was hard enough to say

I could scream at the top of my lungs- finally The city had caved, and the reverb had bounced off concrete Too long- I’ve waited too long To say all that I needed to confess Let no body of any soul hear me- I should seep into the soil once more before it is permanent

It would wander As I would- Misguided, but true I had to grow to explain my love for you

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!

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! ! ! ! ! ! !WE BEG FOR LOVE !

I looked different and stood in lines alone looked in mirrors and cursed the fuzz, and those little bumps the attributes of women, things explained on a chart things written in pink adorned with a heart- And gambled, the excitement of the new path but always afraid, they knew it better they knew the terms and the words they knew the hip they knew the nerds but we always miss the details the haze in the eye no one sees the grass between the trees.

I grew, and sat in beds with ugly sheets, not mine dust settled on my hiding pose and I got wiser, longer, kinder listened to my thoughts, never ending prose. We beg for love, and hurt ourselves scan rooms to meet the eyes of others give things we don’t have to gain things we don’t need and feign a likability, our flesh as bait We beg for love and stay out late I begged for love but had to wait.

! – !

! – !

So many things no one will ever know but the shame and excitement when we feel when we sneak behind others her porn and his jars, cupboards, scars and pictures, shots of squinting eyes and anticipation, bare flesh they remind me of every picture I never sent- where I begged for love that I’d later repent.

! – !

They sit expectant and I look down always playing it up, we chip our own marble I don’t think we realize that mirrors are forever the eyes of others waiting to see what you can do. Some eyes don’t tear up in the presence of sadness and we can watch others cry and plan the day ahead. Sometimes, You looked calm while I was bluffing you just have to tighten your throat and out comes nothing.

! – !

I wish that somebody had explained that the hardest of times showed the actuality of love And that I knew my mother, I wonder if she ever saw the beauty resting upon the grime and if she ever felt adoration and resentment at the same time.

! !

Evangelene Stevenson is a 22 year old 


writer and occasional poet from Vancouver. She currently lives and loves in Montreal.


!


PHOTOGRAPHY BY ZISIS KARDIANOS

OFF SEASON

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“Off season” is a photographic pursuit of visual appeal in a battered space of cheap and vulgar seasonality. The place under scrutiny is the infamous tourist resort of Laganas in my native island Zakynthos, Greece, in the period of its absolute abandonment during the winter months. The place has been “developed” in the recent years – the word “developed” is on overstatement – in an erratic, kitsch and casual way as to be harmonized with the low class tourist wave that floods the resort during

the summer. In the winter, when the wave withdraws, the natural and built landscape that is being unveiled looks even more depressing and wrecked. And yet in this abandoned and battered place, the discerning eye can still uncover some nuggets of vernacular appeal and visual character. This project reconfirms my belief in the power of photography to make magical even the ugliest and dreariest place.” -Zisis Kardianos- Photographer


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STILL LIFE 1

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It’s amidst the roar and clamor of everyday life that the still sets in, a wave crashing against the tiny compartment and engulfing sounds, colors, the shuddering seats of the flowery polyester seats as the train bursts into the dark belly of a tunnel. The lull is warm and heavy like a woollen blanket. It rumbles in her chest-cage and bounces visibly on the leathery chin of the old man standing across from her, behind a frail curtain of assorted smells. Shaving cream, the musky kind with a lingering afterthought of pine, baby powder, altoids. Veins creep down his translucent arms like highways on a map, marking their journey across hairlines, bones, scars, marriages, bar mitzvahs, moments of tenderness, disappointments. His fingers wrap around a small briefcase, she draws out the contents in her mind. A black and white photograph of a child, the sun in his face, disgruntled by the presence of the camera. A newspaper with the daily crossword half filled in with pencil. A pencil. A pinstriped shirt with 25 dollars tucked into the front pocket. A sandwich packed by Mirla, untouched. In that drawn out expanse of suspension their eyes meet, for a second, before light shatters the calm and the noise swells up again, pulling people apart.

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!! !! !! !! !! !! !!

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II Underwater, she presses her back against the slippery tiles lining the floor of the pool and looks upwards towards the sky. Legs waving for balance, kicking furiously against the cold heavy water, shedding bubbles like tiny hot air balloons, tiny jellyfish, dust particles flying off a carpet shaken out on the patio. Hair twisting and turning, brushing her face, wrapping around her neck. Shards of light piercing through a hundred crystalline shades of blue, and the sun, far away yet beckoning, like the light at the end of a tunnel. A faint soundtrack plays from across the voiddogs barking, Billy Holiday playing on the radio, cars driving past and screeching as they turn the corner, voices calling out things, the squelch of sunscreen being squeezed out of a tube. But down below time is frozen, sedated by the softness of blue, the bated breath, and the dreamlike quivering of the walls around her.

III

He’s standing in the kitchen talking excitedly about something or the other when suddenly the words fade into the background and all she can think about is how perfect, divine even, the composition of this moment appears to be; firmly tucked between everything that has ever happened before and a whole eternity of things that are to follow. His eyes the color of dead grass and his mouth that writhes and moves across his cheeks like fingers pressing into play-dough. The light from the overhead bulb nestling down into his hair (moonlight on a cornfield.) The million twists of fate that pushed and derailed them over years and finally cornered them into this room in this apartment in this city, to be breaking asparagus tips together on a Sunday evening. The microbial evolutions, civil wars, heartbreaks, architects, civilizations and supermarket cashiers crystallizing together to made this particular assemblage possible. For a second everything stops and the wonder engulfs it all like the slow ticking of a pendulum. The record skips, and then falls back into place, continuing its symphony.

-Submitted Anonymously.

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CONTRO CONTROVERSIES is a 17 minute long archivaldocumentary directed by the Winnipeg-born and Montreal-based film director Ryan McKenna. It was featured at Cannes film festival, the MOMA, Hotdocs Film Fest, and Montreal’s International Documentary Festival (RIDM), where it won a whole bunch of well-deserved prizes. We talked to the director about the story behind CONTROVERSIES’ creation, which turns out to be just as intriguing as the documentary itself.

!

The project was born as an unexpected deviation from a documentary McKenna was working on at the time, about the life of the eccentric pioneer of Winnipeg’s Indie film production, Greg Klymkiw (Tales from the Gimli Hospital, Archangel, Careful). Klymikiw devised a marketing campaign that brought Manitoban post-modernist cinema to the world by fabricating an entire mythological hype around it, and directed almost every major production out of Winnipeg in the 80’s including several of Guy Maddin’s films. He also wrote and produced the cable cult classic “Survival,” which he starred in from behind a mask-to prevent his parents from recognizing him on-screen. Tracking down some of Klymikiw’s colorful antics brought McKenna to the archives of Peter Warren’s popular 1980’s radio talk show “Action Line,” which Klymikiw had prank-called on several occasions with absurd ramblings executed in a fake Ukrainian accent.

!

CONTROVERSIES 17 minutes | Canada | Documentary | Black & White | Stereo Mix | 2:35 Scope | 2014 Directed By: Ryan McKenna Produced By: Becca Blackwood and Ryan McKenna


VERSIES

What McKenna found instead was a goldmine of strange, right-wing gripes and options on current affairs of the day. In this pre-Google era, Peter Warren’s talk show became the arena for blue-collar Manitobans to call in and vocalize all types of concerns, ranging from their two-cents about the daily news to questions about how to file their taxes and the price of postage stamps. The cultural world that unfolds is funny, bizarre and strangely nostalgic. There is a sense that the entire community is participating in a collective drama, with Peter Warren acting as the all-knowing voice of God, calmly responding to individual anxieties, queries and frustrations. The voices, with their local narratives and strong regional accents, provide a fascinating sociological portrait of a very specific time and place: small town Winnipeg between 1983 and 1991.

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McKenna narrowed the 50 hours of archival audio down to 45 minutes and then further trimmed it to 17 minutes, which he described as the most difficult part of the entire creative process. To provide these recordings with a visual supplement, he headed back to Winnipeg with Becca Blackwood (the film’s art director), and contacted every quaintsounding name in Blackwood’s mother’s old phone book. The characters he unearthed were delightfully characteristic of those who would have listened to the show at the time. Filmed with old Russian analogue lenses, McKenna and Blackwood collected 70 monochromatic video portraits; old women stroking their cats on floral-print upholstery, middle-aged housewives smoking cigarettes in the kitchen, staring listlessly into empty space, talking on the phone…. The portraits recreate, in an exaggeratedly fixed, synthetic fashion, the imagined appearance of the callers of the time. 45


The juxtaposition of the audio and the video imagery results in a humorous contrast between the mundane household environments of the listeners and the outrageous, far-fetched events reported on the radio. The gossip-infused excitement of the Action Line narratives overlays a dramatic soundtrack onto otherwise monotonous day-to-day scenarios. Some of the shots linger on the exterior facades of buildings, inspiring the viewer to construct a mental image of the caller inside the building, the voice drifting out from the windows. CONTROVERSIES manages, by focusing in on very individual and subjective psychologies, to consequentially paint a much larger ethnographic portrait. Not only of its localized Winnipeg context, but also of the general dissonance

between real life and the dazzling dramas portrayed by the media, which in many ways creep into our personal space and become intertwined with our everyday existence.

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CONTROVERSIES will be made accessible online shortly, after finishing its journey though the film festival circuit. In the meantime, you can request a copy via the Winnipeg Film Group.

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Also, keep an eye out for McKenna’s new film, a French fiction feature starring Marie Brassard, Francis la Haye and the amazing Amadou et Mariam. It should be out by Christmas-time and we’re all super excited to see it.


“I HAVE ALWAYS BEEN FASCINATED BY THE OUTSIDER. WHETHER IT’S IN TERMS OF THE INDIVIDUAL, OR IN TERMS OF CULTURE.” -RYAN MCKENNA

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editorial design, photography -

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The Bus Journal is a self-initiated publication by Sarah le Donne, a creative director from Germany, about discovering everyday city life by public bus. Different writers, artists, photographers and other creatives were asked to record their experiences riding the public bus in their respective cities, as a means of observing the daily life there.

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The first issue focuses on Turkey’s largest city, Istanbul, and combines written diary entries with photography.

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<INLANDS> MINOR LANDSCAPES


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INLANDS :: MINOR LANDSCAPES “The images of this series are exploring the landscape through small individual fragments, each one of them describing a state of transformation. Those miniature scenes are approached as if they were completely independent existences, released from their actual surrounding space and identity. Thus, they can be openly interpreted, as bearers of symbols and equivalents.

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Every landscape can be decomposed into an infinite number of minor ones, progressively increasing their introversion, as their actual nature seems to be replaced by a more abstract one.

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When we abandon our perception that is based on knowledge and familiarity we find ourselves

disorientated, trying to rely only on our senses. The narrative of the project is based on this disorientation. The images try to examine the limits of a Landscape, moving inwards, in a process that looks both perpetual and enchanted. The interpretation of the images as individual fragments remains open, but in the same time it aims to maintain a certain obscurity. This is the second element of the series’ narrative, the Mystique, an unenforceable transformation that take place beneath the surface of things.

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Inlands is the area that lies on the opposite of the horizon; it’s the land the lies inside us.”

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- Petros Koublis
 PHOTOGRAPHER

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Goldfish In some gardens while asleep


^ Rite/ Dearest valleys

v Hollow /The void above

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PJOTR EIJKENBOOM


They are heavy with a quivering, looming sense of anxiety. There is a sense that, despite the grainy stillness of the landscapes, something is on the verge of happening. Boulders will tumble. A gust of wind knocks over the rickety beach chairs, breaking the symmetry. Secrets are hiding, waiting to be discovered. The feeling of intensity churning behind the surface is channeled in each of these pictures, balancing apparent stillness with latent, powerful dynamism. They vibrate like the lull before the tempest // the calm before the storm.

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Pjotr Eijkenboom is a photographer based in the Netherlands. He takes his analogue photos on a range of analogue cameras from a Canon AE1, to a Canonet QL17, a Contax RTSIII and a Canonet rangefinder camera.

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His portfolio can be viewed at:: www.blaaskaak.com


THE ARCHIVE COLLECTIVE Art with Substance. facebook.com/archivecollectivemag hello@thearchivecollective.com

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www.thearchivecollective.com Image: Pjotr Eijkenboom May 2015

Archive Collective Magazine  

Issue 1 :: May 2015

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