1. Special Issue #8: Im/permanence: Manbo Key

    Text by Nicole Cerrone

    What is the idea behind your “Im/permanence” project?
    The word “Impermanence” here has no link with the original meaning. It came from an incident of my childhood. It was the title of a song that my father used to listen to. I was very young when discovering the record and was intrigued by the title but could hardly understand what this word could possibly signify. The word impermanence somehow sank deeply in my memory. When I realized that I will have the opportunity to hold a solo exhibition, I felt the need to link this word to my works and present them together.

    In your opinion, what it that makes a photo or art in general “permanent”, a classic?
    A real art work can always reflect the inner soul of a human being, no matter what kind of intermedium it might be.

    Could we say that objects are the maximum expression of the presence of mankind?
    Objects are visible, that is the reason why it could link to the presence of mankind.

    Do you think that art has the power to make things and people immortal?
    The art work itself can be immortal.

    Your corpus of works includes not only photography, but video and paintings too. How these different techniques influence each other?
    I use different sources to express myself, but the main idea of my works remains the same.

    [If you want to see more, find him on www.manbokey.com]


  2. Don’t miss our next special issue about Manbo Key on Redox the 17th of April and his photography exhibition in Shanghai, you have until the 26th of April, hurry up!


  3. Interview#46 Joanne Leah

    How old are you?

    Where are you from?
    Brooklyn, NY.

    What kind of photographic equipment do you use?
    Canon 5D Mark II, AlienBees B1600, Lightroom.

    What do you do when you are not shooting?

    What was the first photograph you were proud of?

    How much preparation is there behind your photographs?
    I have finally found a quiet place, where a deliberate moment becomes a decisive one.

    Have you ever done sacrifices or compromises as a photographer?
    Sacrifices, yes. Compromises, never.

    What is your safe place?
    Inside my head.

    Do you have any obsessions?
    Moving forward.

    Is there an artist you’ll gladly collaborate with or that you regard with esteem?
    Hieronymus Bosch.

    ▶Are the carnal side and the spiritual one coexisting in your work?
    They are the same. 

    [If you want to see more, find her on joanneleah.com]


  4. joanneleah:

    Peel ~ Caitlin Michele

    Copyright 2014 Joanne Leah

    Don’t miss Joanne Leah's interview on Redox the 10th of April!


  5. Special Issue #7: Tim Bruening

    Text by Nicole Cerrone

    Your photos bring forth the whole environment you are into: do you ever think about how different you would be as a photographer without it? And what do you think is the immutable “core” of your works?
    Who would I be without my environment? I would be nothing. My environment is me. It´s my friends and my family who complete me. In my personal life and also in my work as a photographer and artist. Without the help of my friends I won´t be where I am today. I couldn´t even make a living. So these folks are the immutable core of my works. Of course I could take other photos.  But it won´t be the same. It won´t be me. And I won´t be happy with it.  

    How would you define the relationship with the people you are taking picture of?
    At the end it depends on the people I photograph, but I would describe it as a really personal relationship. Most of the time I try to work with people who I really like and I´m interested in. So sometimes I photograph friends or people I already know and if I don´t know them I try to get to know them better.  You see it in the photographs. I couldn´t take theses photographs without this interest for the people and these relationships.  Last year I met Astronautalis, who´s my favorite rapper of all time. It was the second time we met to take photos but instead we ended up drinking Jim Beam and beers half of the night, talking about our families and the great opportunity to make a living from what we love while travelling around the world – constantly meeting new people and making new friendships. I only took 2 or 3 photos that evening. Sometimes it´s just better to hang out and talk, than taking photos.

    Do you think that there is a recurring class of “fetish” objects that appears in your photography?
    This is a good question. I don´t know. What do you think? Would be cool to discuss this. Maybe bars? I really like old bars. I wouldn´t say it´s a fetish object, but I guess alcohol in all it´s forms is something which appears often in my photography. Not because I wanna glamorize it. It´s just a big part of our society and culture. Nearly everybody drinks. And there are also a lot of people who suffer under different kinds of alcoholism. From all walks of life: Policeman, businessman, politicians, housewives. Young people and old people. I guess even some of my friends. So it is a very normal thing that it appears in my photography.

    What do you prefer, film or digital? And why?
    I prefer film, I will always do. I do also shoot digital from time to time, but it´s always my last option. It doesn’t feel right for me. There´s something inside of me that rebels against digital photography. I guess thats just the way I learned to photograph – with film.  I grew up in the 80ies, with movies without cheap CGI effects. Movies and photographs were blurry and grainy. There was no HD. Not that ultra hard sharpness. To me this sharpness feels unreal. Before I started photography I did movies. My mum and dad got this HI8 camcorder I started to experiment with it in an early age. Also my best friends mum did short movies with us as actors back in our childhood. In 1996/97 when I saw the Robert Rodriguez movies Desperado and From dusk till dawn at a private party it blown me away. These movies where a live changer. From that point all I wanted to do was becoming a director and cameraman, so I could do my own movie.  Rodriguez is a perfect example for this discussion. He was one of the first directors who tried out this new digital stuff and experimented with the newest High Definition and 3D cameras – and he did well. He brought 3D back to the cinema. There are two reasons for working digital. It´s cheaper and it´s faster. You got much more possibilities shooting that way and experiment. Same for digital photography.  But – On the other side this isn´t always a gift. Digital photography allows everybody to take photos. And nearly everybody to take a ‘good’ photo – without any talent. It´s just all photoshop shit. When you shoot on film most of the editing is already done. You do it right or you fail. Also the ever changing file formats and storage is a problem nobody is thinking about nor can survey.  I hate all kinds of technical stuff like that. I guess it´s the combination of these facts: The nostalgic, grainy and blurry look I grew up with and my laziness for this technical stuff.  But in the end – Film just feels better.

    What are your main goals this year, on a personal and artistic level?
    Staying alive. Ah ha ha ha staying alive, staying alive.

    [If you want to see more, find him on timbruening.com]


  6. Damo Suzuki – 2014

    Don’t miss Tim Bruening's interview on Redox the 25th of March!


  7. Interview#45 Viviane Izzo

    How old are you?
    I’m 20.

    Where are you from?
    I’m from Italy.

    What kind of photographic equipment do you use?
    I use a NikonD90.

    What do you do when you are not shooting?
    Well, I actually spend my time thinking about my next shootings, planning them, searching for new models and always trying to find some inspiration by the people I meet, the places I see and the music I hear.

    Which was the first photograph you were proud of?
    Mh, it’s quite complicated. I’m never really accomplished with my photos, at least no more than a day after I shoot them. But I think.. it was a close portrait of a girl. She had always been portraited as a beautiful sensual girl, more like a sexual toy than a real person, so I tried to capture her inside by pointing her eyes straight into the camera. It was really difficult to her to let me break her appearance, but the best thing about that photo is that she gave up on fighting my lens, and the final result is that her soul is completely naked, everyone is able to read it and explore it, and I found my own personal style.

    How much preparation is there behind your photographs?
    It depends on the kind of the photoshoot. Some are really spontanous, without any kind of preparation, they just come out of nothing inspired by the model or the setting or the clothes. Others are studied for days and days, I like to work a lot with my subjects to create something that they feel as their own, and then I just think about the little details.

    Have you ever done sacrifices or compromises as a photographer?
    Sacrifices are inevitable, you spend a lot of money, time planning, shooting and retouching, but I think it doesn’t really feel so heavy when you do it for the biggest passion you have. As for compromises, I think that in every field, work implies that. When photography turns into your job you’re not the one who decides, you must respect the will of the other person you work with, even if sometimes you don’t share their likes.

    What is your safe place?
    The arms of the man I love.

    Do you have any obsessions?
    I have the strange belief that everything is associable with a colour. I’m obsessed by everything that’s red like Love, Blood, Pasionate people, red hair and white skin and things like that. I’m also obsessed by the figure of the woman, the body, the delicacy and the sensuality that characterizes it.

    Is there an artist you’ll gladly collaborate with or that you regard with esteem?
    I deeply admire Nima Benati, I’m in love with each one of her works. She’s almost my age, and she has already had so many important collaborations in the world of the Fashion, she’s my referential model and I aim to be like her.

    ▶Death seems is often present as a subject in your photos, are you afraid of it? Are you trying to “exorcise” it through your work?
    Well, it’s actually the opposite. I’m attracted by everything that brings along pain, the desire to vanish, anxiety, emptiness, fear, ‘cause they affected so much my life that I feel the incontrollable desire to explain them to a world that only considers noticeables wounds. I would be very proud if my work would help people like me feeling understood and less alone.

    [If you want to see more, find her on behance.net/vivianeizzo]


  8. Don’t miss Viviane Izzo's interview on Redox the 18th of March!


  9. Interview#44 Michelle Arcila

    How old are you?
    I just turned 34. Getting up there.

    Where are you from?
    Oceanside, NY. But I spent most of my summers in Costa Rica with my extended family. My mother is from Orosi, Costa Rica. So when I think about my childhood I think about my time in Costa Rica.

    What kind of photographic equipment do you use?
    I use a Hasselblad 501C, a Nikon D3X, and a Mamiya RZ67. I mostly use available/natural light.

    What do you do when you are not shooting?
    I am raising my 1 1/2 year old daughter, Iris, and drinking lots of coffee.

    What was the first photograph you were proud of?
    I started doing photography when I was 15 years old in high school. I signed up for a photography class they were offering in my high school. That class literally changed my life. I remember seeing the portrait I had taken of my cousin start emerging while in the developer (it was black and white) and realizing that I had just had a breakthrough in the kind of images I was creating. In hindsight it probably wasn’t a great photograph by any means but I remember that it was the photograph that made me realize I wanted to do this for the rest of my life.

    How much preparation is there behind your photographs?
    It depends on what I am working on. Some work requires a lot of preparation and travel. And other’s I create very organically. I like surprises.

    Have you ever done sacrifices or compromises as a photographer?
    I love photography so much that I don’t ever feel like I am sacrificing much for it. Perhaps, I sacrifice money. Art school debt, equipment debt, things like that. But I consider it more of an investment because I love it so much.

    What is your safe place?
    My home. I really love being home with my husband and daughter. I get really exhausted when I am away from home for too long.

    Do you have any obsessions?
    Its kind of a boring obsession but I’m obsessed with books. It’s a serious problem. I can’t go into book stores because I will spend whatever last bit of money I have.

    Is there an artist you’ll gladly collaborate with or that you regard with esteem?
    There are far too many artists that I adore and would love to work with. Sonja Braas inspires me greatly as does Viviane Sassen and Roni Horn.

    ▶What are the objects or scenarios you take inspiration from?
    My Costa Rican/Colombian heritage is always a connecting thread in my work. Mystery and transformation always gets my brain excited. And nothing beats a good old fashion ghost story.

    [If you want to see more, find her on lmichellearcila.com]


  10. Don’t miss Michelle Arcila's interview on Redox the 11th of March!