sábado, 28 de abril de 2007
"Lost Boys, Slava Mogutin’s first monograph, is a compelling collection of his portraits and landscapes taken over the past ten years—since he was exiled from Russia for “malicious hooliganism with exceptional cynicism and extreme insolence.” Although it was his outspoken gay writing that angered the Soviet authorities, Mogutin’s photographs caused just as much controversy. Provocative yet iconoclastic, his work transcends the conventions of male nude photography, confronting the viewer/voyeur with a raw style and new sensibility. A cross between porn and fashion, pop culture and marginal kink, Lost Boys is a poetic and sometimes raunchy journey into different obsessions and fetishes of the cosmopolitan urban youth culture. Crimean rasta boys, Russian wrestlers and military cadets, German skinheads, and football hooligans are among the subjects of these incendiary but intimate portraits."
Extraido de http://www.powerhousebooks.com/
miércoles, 25 de abril de 2007
"KINK Haciendo el kinki by Redacción Kultura Urbana
25 Abril 2007
¿Existen los límites entre el arte y la pornografía? La pregunta no es nueva, para echar más leña al fuego ha aparecido el número 4 de Kink.
La expresión inglesa “Kink” quiere decir peculiaridad o desviación del comportamiento sexual . Vale, hoy en día ya no sabemos hasta que punto las cosas son desviación, filia sexual, vicio, o algo normal. Cómo tampoco dónde está el límite (si es que lo hay) entre el arte y la pornografía. Tampoco importa mucho. Y si quieres plantearte esta pregunta en primera persona, cógete un ejemplar de Kink, y empieza a meditar.
Paco y Manolo, reputados fotógrafos, han llevado a cabo una singular aventura de honestidad y libertad creativa al crear su revista Kink. Es algo así como la versión española de Butt pero en más sucia, más artística y más bella. Vamos, en mejor. Cada número es un muestrario a medio camino entre lo preciosista y lo sórdido de hombres desnudos y fantasías fetichistas. Una legión de hombres de todo tipo van desgranando un muestrario de vicios y parafilias sutilmente. Es algo así como entrar en con un pase vip en la mente de un hombre homosexual y poder pasear por todos los recovecos de su sexualidad, cada pequeño rincón, gesto, fijación, filia es mostrado sin pudor. Sin ningún pudor.
Lo verdaderamente impactante es que, puesto que las fotografías son tan exquisitas y tan magistralmente realizadas, el prejuicio que uno pudiera tener acerca de lo sucio o pornográfico del asunto se desmorona. No es pornografía. Tampoco es arte decorativo. Es otra cosa. Es Kink. No apto para mojigatos."
lunes, 23 de abril de 2007
"The work of Bruna Kazinoti generally takes two directions. On the one hand it exists of portraits taken of suburban youth. She approaches the subjects (mostly young guys) with a bit of a distance, it seems. But in such romantic, dreamlike way the viewer isn’t preoccupied in any way and accepts the image spontaneously. Bruna plays with the poses of her models and sometimes let them act with symbols and gestures that are typical expressions made by subcultures of the up to date suburbia. There’s little distraction to accompany the portraits; empty walls, a mattress or sometimes a well chosen prop strengthens the feeling we are looking at desolate angels. On the other hand Bruna Kazinoti is overwhelmed by nature and its beauty. She documents this daily, on a hunt to capture it all. She always tries to bring these two elements together. Sometimes literarily; double printing portraits and nature photography’s. Other times she creates diptychs; combinations of portrait and nature… The work of Bruna Kazinoti is an ongoing project."
Texto de Outlandish
Esta es una entrevista a Bruna Kazinoti que hemos encontrado en la revista de internet Nothing Magazine:
"1. Where are you from?I am from Split, small and old town on the Croatian coast.
2. How did you get into photography?I didnt get into it, it got into me.
3. How would you describe your work in one sentence?Boys, light, sentimentality, simplicity, nature, sensibility, blue, diamonds, perception, feelings, and colours.
4. What subjects do you most enjoy capturing?I mostly enjoy taking photos of street boys. I’m very interested and fascinated by their behaviour and attitude. I just love their way of being- the way they walk, talk, communicate and act. That said it could not be without also taking nature photos, of the sea, the woods, and Croatian countryside.
5. What do you feel makes a successful photograph?When I can feel it, or have any kind of feeling towards it.
6. What would your dream job be?The dream job for me would be one which allows me to live in my hometown of Split, but lets me travel to many countries to shoot, but always come back home. I would just be happy to have small freelance jobs every month.
7. What are you working on now / next?I am doing a new shoot for Fairy Tale magazine, Metal Magazine, and also planning a trip to London."
INTERVIEW by Jason Lingard para Nothing Magazine
martes, 17 de abril de 2007
viernes, 13 de abril de 2007
lunes, 9 de abril de 2007
domingo, 8 de abril de 2007
sábado, 7 de abril de 2007
"When one talks of the triumvirate of Austrian Expressionism, after Schiele and Kokoschka, it's a pity that Gerstl doesn't replace the name Klimt. Despite the obvious linkage, Klimt was of another generation, even if some of his works were the very archetypes of Expressionism. Unfortunately, Gerstl killed himself at 25 and left behind barely 70 pieces of work. There's not much first-hand biography available--he destroyed all evidence of his life. The point of this page is not to expound on the man's life; there are words enough readily available elsewhere. But a brief grounding is helpful in looking at the work. Gerstl decided to become a painter, pleasing his father none. He performed somewhat erratically in his schooling. A professor, Christian Griepenkerl, who would famously exclaim to Schiele several years later, "The devil shat you into my classroom." had perhaps tried the phrase out on Gerstl first. He did declare to Gerstl, "The way you paint, I piss in the snow." Other than fellow student Victor Hammer, Gerstl didn't hang out with other artists. He was very much interested in music. In 1906 he met the composer Arnold Schoenberg and fell into his circle; thence the soap opera began. The two had a mutual admiration society going on, each inspired by the other's art. Gerstl gave art lessons to the family, and the man himself. The extended group summered together in 1907. And somewhere along the line Gerstl managed to insinuate himself into the carnal delights of Schoenberg's wife, Mathilde. An odd match up if ever there was. The affair went on and was discovered resulting in a crisis whereby the lovers fled to Vienna, leaving the composer to a suicidal depression while in the midst of a major work. After a few weeks, Mathilde was persuaded to return home for the children. Gerstl lost it all: lover, mentor, and everyone he counted as friend. It wasn't long before he went to his studio, burned the contents, and then, before his studio mirror, hung himself and stabbed a big knife through his even larger heart."