Nocturne(s) en P(hotographies) Minor

« En distordant la réalitéAida Muluneh créée quelque chose d’autre, un monde parallèle qui doit susciter le questionnement.

De cette démarche, la série de 28 photographies intitulée – “The world is 9” – ,emblématique et  inspirée d’une expression de sa grand-mère “the world is 9, it is never complete and never perfect.” (le monde est 9, il n’est jamais complet ni jamais parfait). La série répond à l’objectif de l’artiste qui affirme :  “I am not seeking answers but asking provocative questions about the life that we live—as people, as nations, as beings” (“Je ne cherche pas de réponses, mais à poser des questions provocantes sur la vie que nous vivons – en tant que peuple, que nations, que personnes”).

En peignant les corps objets de ses models, Aida Muluneh se place dans la continuité du body art africain : “I have chosen to continue working on body painting, which is inspired by traditional body art from across Africa. Each work is a reflection of conscious and sub-conscious manifestations of time and space.” – CultureType (“J’ai choisi de continuer mon travail de peinture corporelle, qui est inspiré par l’art corporel traditionnel à travers l’Afrique. Chaque oeuvre est un reflet des manifestations conscientes et subconscientes du temps et de l’espace”).

D’autre part,  en réaction contre le numérique et ses retouches par ordinateur, Aida Muluneh exprime sa préférence pour une photographie “manuelle” : « Dans ce monde numérique, je crois que chaque photographe devrait se salir les mains dans la chambre noire. J’ai toujours du mal à accepter la photographie numérique et d’avoir 20 000 images à retoucher après chaque shooting ». »

– par  Little Africa

« Born in Ethiopia in 1974, Aïda left the country at a young age and spent an itinerant childhood between Yemen and England. After several years in a boarding school in Cyprus, she finally settled in Canada in 1985. In 2000, she graduated with a degree from the Communication Department with a major in Film from Howard University in Washington D.C. After graduation she worked as a photojournalist at the Washington Post, however her work can be found in several international publications.

Also as an exhibiting artist, Aida’s work has been shown in South Africa, Mali, Senegal, Egypt, Canada, United States of America, France, Germany, England, China, to name a few countries. A collection of her images can be found in the permanent collection at the Smithsonian’s National Museum of African Art, Hood Museum and the Museum of Biblical Art in the United States. She is the 2007 recipient of the European Union Prize in the Rencontres Africaines de la Photographie, in Bamako, Mali, the 2010 winner of the CRAF International Award of Photography in Spilimbergo, Italy, and a 2018 CatchLight Fellow in San Francisco, USA.  

As one of the leading experts on photography from Africa, she has been a jury member on several photography competitions most notably the Sony World Photography Awards 2017 and the World Press Photo Contest 2017. She has also been on various panel discussions on photography in events such as African Union cultural summit, Art Basel and Tedx/Johannesburg. Moreover, she currently serves as a Canon Ambassador. Aida is the founder and director of the Addis Foto Fest (AFF), the first international photography festival in East Africa hosted since 2010 in the city of Addis Ababa. She continues to educate, curate and develop cultural projects with local and international institutions through her company DESTA (Developing and Educating Society Through Art) For Africa Creative Consulting PLC (DFA) in Addis Ababa, Ethiopia. »

Aida Muluneh, née en 1974, est une photographe éthiopienne et une artiste contemporaine.
AIDA MULUNEH | The World is 9
David Krut Projects is pleased to present the newest series by contemporary photographer, Aida Muluneh titled, The World is 9.
The shackles of limitation from Water Life collection by Aida Muluneh commissioned by WaterAid and supported by H&M Foundation.
« Fragment »


Comparé à Seydou Keïta ou Samuel Fosso, le sénégalais Omar Victor Diop s’inspire aussi bien des portraitistes de studios africains, des étoffes colorées, que de la photographie de mode ou la culture pop. Son travail a déjà été plébiscité de la Biennale de Bamako aux Rencontres d’Arles.

« J’essayais de transformer un passé oublié en actualité pour redémarrer une conversation », explique-t-il.

Le studio des vanités est un portrait d’une génération de jeunes talents africains. Une Afrique urbaine et créative, dans laquelle le photographe a grandit et vit encore aujourd’hui. Il représente, au travers de ces portraits, l’Afrique dans ce qu’elle a de plus moderne et de plus dynamique, sa diversité et son foisonnement. Omar Victor Diop s’inscrit comme un héritier de la photographie de studio africaine avec ces portraits posés et mis en scène, dans un contexte de grand optimiste de l’Afrique d’aujourd’hui.« 

Art Contemporain Africain, photographes portraitistes, la relève est assurée

« By definition, I’m a photographer. But I’ve got the mind of a scientist, the heart of the poet, and a camera to capture it all. When the lights go out, what really matters? People, relationships, and our interconnected humanity.

Leif Steiner creates soulful portraits that open a window into the daily existence of traditional communities with minimal contact with the outside world. Before venturing into photography, he had a long trajectory in the creative world as the founder and director of an internationally acclaimed design and advertising agency. About a year ago, he decided it was time to walk up to the edge again. He handed the keys to his company over to several employees and left. He reasoned that if you’re not living, you’re dying. And after twenty years of success in one industry, he was ready to be hungry and scared again.

Leif believes that this moment is an extraordinary window of opportunity to document some of the last remaining independent native communities before they’re gone forever. Globalization is inexorably leading to homogenization. In the coming decades, civilization will transform into a one-world monoculture. Along with this progress, we will lose vast quantities of knowledge, diverse ways of thinking, and cultural differentiation. Two hundred years ago, much of the world was still relatively isolated and inaccessible. A century from now, the entire world will be interconnected; isolated and distinct groups of people will no longer exist. He’s currently working on a multiyear project devoted to photographing and documenting traditional cultures around the world.

PORTRAITS OF HUMANITY: Q’ero (Indigenous Andean) // 15,038’ elevation. I’ve just returned from a 5-day trip up into the Q’eros Nation, one of the most remote and difficult to reach corners of the Andes. New Age practitioners and pseudo-shamanic healers have capitalized on the mythology of these isolated pastoralists… and created an entire industry around a romanticized concept that the Q’ero people are the last remaining Inca. The contrast is fascinating — while the ‘modern’ world capitalizes on them (or the concept of them)… the Q’ero quietly go about their simple life up in the mountains. Many of them have never left the area and the older generations are mostly unaware of how the outside world operates. Curious, I asked one man if the world was flat or round. He had no idea. Nor had he heard of oceans.

Or countries. And he didn’t care to know. I asked if he was worried about losing his culture to the ‘outside world.’ “No. Long after you’re gone, we will still be here.” And THAT I think is the essence of their appeal — Isolated, living in harmony with the earth, and entirely self-sustaining.

Remarkably, this project made him realize the profound coincidences that define us as humans. In his words: “We come in a thousand different shapes and colors, but underneath that thin layer of skin, we’re far more similar than we are different. Even the most remote and isolated groups of people share the same basic kindness, the same intellectual curiosity, and the same empathy we’d expect from our next of kin.

PORTRAITS OF HUMANITY: Q’ero (Indigenous Andean) // 13,750’ elevation. In Q’eros, there is no flat. Things go up or down but never flat. There are glaciers above, jungle below, and thousands of vertical feet in every direction. In the middle is Q’eros. During the rainy season when moisture rolls up from the Amazon, it can snow. When the sun returns in April, mist continues to rake across the alpine landscape. Mosses and lichens compete with wild grasses. There are no trees at this high elevation, but water is everywhere. // This is a portrait of Sebastian Quispe Zamata. He doesn’t know whether he is 66, 76, or 86. More incredibly — He doesn’t own a mirror and (before this photo) had never seen an image of himself. Photographing him was a challenge; the sun had set, another bank of clouds was drifting up from the jungle… and Sebastian was fascinated with the camera equipment.

PORTRAITS OF HUMANITY: Peru, with the Yanamayo // You’ll never read about Julian Yupanqui. You can’t call him or text him or even write him a letter. He lives high up on the eastern slopes of the Andes, right before the mountains drop down into the Amazon. At 13,300’, it’s cold at night and there’s no electricity. Meat is hung out to dry, but mostly he and his wife live off potatoes. If you walk past Julian on the trail, he might be heading up into the high country to check on his alpacas. He’ll smile and wave and quietly keep walking. If you speak Quechua, he might invite you over for a meal. You’ll talk for hours; Julian is a humble man but has a lifetime of stories. He’ll tell you about floods and snow and the tropical birds that rise from the jungles below. But he won’t tell you he’s a descendant of Inca royalty. (Google his last name and you can read about it yourself.) Julian Yupanqui doesn’t care about ‘likes’ or ‘share’s’ or how many ‘followers’ he has. Julian is just Julian; a good husband, good father, and a good friend. »


« To capture people and landscapes and the interactions between them in the light of a world in transition is to encapsulate an inimitable moment, which will never again materialize. His own ‘take’ as a geographer photographer!

Born in the City of Derry (Ireland), Trevor has lived most of his life outside the bounds of Ireland: England, Singapore, Togo, Italy, Ethiopia, and Brazil. He returned to Ireland (Donegal) in 2012.

His photography, together with travel, have become two of his life’s passions. His photography focuses predominantly on culture and landscapes; images which reflect a spatial and temporal journey through life and which try to convey a need to live in a more sustainable world. He seeks the moment and the light in whatever context he finds himself and endeavors to use his photographic acumen to turn the ordinary into the extraordinary. »


« Anja Rösgen, a.k.a. Mrs. White Photoart, is known for her haunting and intriguing black and white photography. Surrealist and conceptual, she loves making up creative stories and capturing them with a peculiar style. Her characters are often staged in deserted environments; faceless or surreally alienated.

Throughout her life, she has been fascinated with this kind of stories, which are gloomy and evoke feelings of loneliness and melancholy. The human aspect is the most important part of her work and to underline her dark and often melancholic results, Anja mostly focuses on black and white photography.

Her inspiration comes from multiple sources. Sometimes it is an unusual place, a simple passage from a book, a song or a scene from a film. Anja’s work is constantly evolving and surprising, a world hidden in the shadows of imagination.

Stare at her work long enough, and you will be amazed. »

– Featured Artist | Anja Rösgen, by FUDO HUB

« Je suis féru de photographie car la photographie est un imaginaire fantasmatique. Je suis féru de photographie parce que c’est non seulement le cliché de saisissement d’un moment d’authenticité mais une suspension du temps qui relève quasiment d’une espèce d’intemporalité voire d’immortalité

Prendre une photo c’est défier le temps. C’est le capturer et lui ordonner de se suspendre comme de lamartine l’a si bien poétisé dans son Lac. « ô temps ! suspends ton vol », clic clac le temps est un albatros baudelairien, prince des nuées désormais par la mécanique et la technologie exilé dans un instant duquel il ne saurait plus s’échapper. Avec la photographie, l’œil devient maître du temps, un quasi dieu.

Mais, si je suis si féru de la photographie ce n’est pas tant cette espèce d’immortalité ou ce pouvoir divin, c’est le récit, l’histoire. Il y a quelques années, j’ai eu un Me Jedi originaire de l’europe de l’est soviétique qui d’une exigence au-delà de la sévérité nous martelait que toute photographie devait raconter une histoire.

Il était impitoyable sur la banalité des clichés qui ne disaient rien et ne menaient nulle part. Avec lui, j’ai appris à regarder et voir différemment des photographies.

L’esthétisation est une superficialité si elle ne raconte pas une histoire, et cette histoire se doit d’être au minimum originale pour en valoir la peine (sinon pourquoi la raconter?).

J’ai appris avec lui que prendre un cliché n’était pas un acte banal, que le tout n’était pas dans la composition mais dans la capture d’un essentiel qui exprime quelque chose de substantielle.

Clic clac, on saisit la substantifique moelle des choses. C’était selon lui le grand secret de la photographie, et c’est aussi le mien. Quelquefois, très souvent, on n’y arrive pas, mais on essaie, ce qui est déjà s’offrir une opportunité d’apprentissage (de soi d’abord – prendre une photographie comme toute activité de la même nature c’est se questionner sur sa propre personne, sa sensibilité, son univers symbolique – et de la technique mais surtout d’apprendre à voir). 

Une photographie raconte une histoire, elle dit un récit. »

Clic Clac

« To me, diversity is what makes humanity interesting and beautiful.

Justin Dingwall is an acclaimed South African Photographer whose emotional portraits explore the boundless spectrum of human beauty. His images are a celebration of diversity and an invitation to rethink conventional beauty standards.

His “Albus” series reflects on the often-taboo subject of albinism, as albinos are frequently discriminated and subject to superstition and violence throughout Africa. The series includes portraits of model Sanele Junior Xaba and model, lawyer and activist Thando Hopa, the first woman with albinism to appear in the cover of Vogue. Dingwall’s touching portraits not only capture the beauty of his models but also reflect their inner strength. His photographs include snakes, butterflies, and water to symbolize rebirth, metamorphosis, and fluidity.

The series “A seat at the table” is a celebration of beauty in difference. Dingwall explores the aesthetics of vitiligo through soulful portraits of model Moostapha Saidi. Regarding these works, he says: “They are not about race or fashion, but about perception, and what we subjectively perceive as beautiful. I wanted to create a series of images that resonate with humanity and make people question what is beautiful”. »

– Featured Artist | Justin Dingwall

« I think my real accomplishment was that I was able to use photography as a significant instrument to help the world for the better. My work gives me a chance to capture and preserve memories of our time.

Portraiture is one of the most ancient forms of visual art. It addresses some of human greatest transcendental needs: capturing our identity and recording our stories. Renowned photographer Donell Gumiran has an extraordinary talent for both. Born in the Philippines, he is also a Design and Senior Art Director based in Dubai.

Donell is widely known for his evocative portraits and travel photography. His favorite subjects are those that capture human conditions and emotions in everyday life. A remarkable visual storyteller, he connects us to the deep humanity of his characters.

Donell is also committed to sharing his passion and expertise with young photographers, helping them expand their skill set and enhance their artistic eye through collaborative workshops. His work has been recognized with numerous accolades and has been exhibited around the world, from New York to Tokyo. »


« For me, doing portraits give me this freedom to explore my own fantasy. I don’t like the realistic approach we might have in photography. What I like is to transform my imaginary world into real-life.

Juliette Jourdain is a young Paris-based photographer. After finishing her photography career at L’EFET Photography School, Juliette started her career as an independent Photographer. Specialized in portraiture, she creates imaginary worlds where her dreams and reality merge.

Juliette takes photos just like a master paints his canvas, with unfathomable and subtle imagination. She has a sharp eye when it comes to portraying art. A true creator, she shapes up a baroque, surrealistic and dreamlike universe through intense sensitivity. With meticulous decors highlighting finesse, her models oscillate between fantasy and elegance.

Her elegant stagings depict sophisticated beings. Her works celebrate virtuosity, by getting round exquisite pleasure.

Her inspirations are numerous (fashion photography, cinema, painting) but are above all derived from drawing, which she has practiced since she was very young. »


« Vadim Stein is an art photographer based in Saint Petersburg, Russian Federation. Born in Kiev, Ukraine, in 1967, he used to work as an actor between 1985 and 1992 in the Theater of Plastic Drama. Also, he worked as a lighting and stage designer.

The artist transferred all that can be perceived as profoundness in Russian art to a modern high tech digitalized world. He put a layer of depth to all that is acknowledged as a postmodern fad. His dramatic studies and his love for theater made his photographic art to be more sensitive and more complex. Stein put together major concepts such as minimalism, contemporary dance, ballet, music, literature. He delights his viewers with different ideas he considers worth exploring: sexuality, sensuality, eroticism, femininity, desires, instincts.

Vadim creates a wide range of meanings and interpretations with few elements. The depth of his minimalistic style is eccentric and the sole aspect of his photo can transform Stein into an eloquent eager visually artist. He flirts with the viewer’s eye by presenting clear lines, shapes, shadows, tones, textures. For him, the body represents a resource and through it, he feeds the viewer’s appetite for aesthetics with black and white images. »

Vadim Stain | Bodies that depict dramatic atmosphere and pain, but also joy and delight

« Katerina Belkina is a Russian contemporary pictorialist photographer and painter. She digitally manipulates many of her photographs to appear as paintings and often uses herself as the model in her work. Her artworks have been published and exhibited internationally. Early on, Katerina knew about her exceptional talent to see the world through different eyes. Born in Samara in the southeast of European Russia, she was raised in a creative atmosphere by her mother, also an artist.

Her photographic work is strongly influenced by the painting. It focuses entirely on portraits, self-portraits, and lately in scenarios that illustrate fairy-tales. Katerina allowed herself to be inspired by the tales to create her interpretation of them. Her images, as far as their permanence is concerned, are to be situated between the written and the oral tradition. On one hand, they obviously visualize the story, on the other, they do not limit the viewer in his /her imagination. »

Interview with Katerina Belkina

« Hardi Budi is an Indonesian artist born in 1968 who lives in the vibrant city of Jakarta. From a young age, he developed a keen interest in the arts, experimenting with various disciplines before focusing on painting and photography. He took his first photographs in 2003 with a camera belonging to his family.

He describes himself as just an ordinary man who loves all about beautiful things, a dreamer who uses his camera as media to express his passion for art.

Through the dehumanized representation of motionless figures posing without expression, his works satirize today’s modern world. His work represents his feelings, mood, emotion, and imagination. The use of photo editing software allows him to fully control this precise aesthetic. To intensify the emotional reach of his works, Hardi Budi eliminates all superfluous elements. In the same way, the deliberate choice of a palette of primary colors avoids any potential distraction. The composition of his images makes use of pure lines that merge into the subject, thus erasing any notion of hierarchy between the various elements present within the image. »

Hardi Budi | Featured Artist

« This world is full of surprises and everything that surround us can teach us something. All that’s vivid is a wonder, we just have to look closer. An ordinary activity made by a stranger near us, a couple of boys playing football, a mother carrying her baby, daily activities and lots of passers-by – they all speak about a specific cultural identity.

A Spanish photographer has redefined this concept by portraying a South African atmosphere. Gregory Escande is a French teacher from Spain. He was born in Sevilla and he studied Arts in Aix-en-Provence and Marseille. He is passionate about photography and he’s got a Bachelor’s Degree in Visual Arts and one in Education. These studies allowed him to travel many times and to work in amazing different places such as Japan, Zimbabwe and Mozambique.

Having these extraordinary cultural experiences and coming into direct contact with various influences, helped him to capture the true essence of this place we all call Earth. And he did that in order to tell everyone that every day spent right here is worth living. Some of his visual adventures were put together in collective exhibitions and he had some collective shows in Aix-en-Provence and Italy.

Gregory Escande always wanted something extremely intense for him. This is the reason why he decided to leave behind everything he knew about European living and chose South Africa. What a spectacular choice!

Therefore, he is a Spanish who teaches French at the American International School of Mozambique (AISM). You could say that now, living out there in South Africa, he is a citizen of Mozambique. But that would not be entirely true because he is a citizen of a wonder. If there’s a place where magic and wonder come as one, that will be Mozambique – a country full of miracles beyond everything. »

Capturing genuine joy and love in the middle of a real battle for survival

by Irina Iacob

« Daniele Cascone began his artistic career in 2001. He experimented a lot, mixing digital techniques with more traditional tools. He is interested in photography, stop-motion and video. His activity led him to found several projects on the visual arts, including the web magazine “Brain Twisting”. At the same time, he began to exhibit both in Italy and abroad, and his works have been featured in numerous industry publications. At the end of 2008, the photographic medium became predominant in his artistic exploration, for which he uses studio sets where he stages the scenes that characterize his works. He is in a constant quest for a balance between creative impulse and technical execution, necessary to explore themes such as human nature, existence, the subconscious and symbolism. »

– Featured Artist | Daniele Cascone

« Portraying myself has been the best way of getting to know who I am and not getting lost in the way.

Spanish photographer Anyta Madrazo creates inspiring self-portraits that take us into a thrilling journey of self-discovery.

Anyta started portraying herself thirteen years ago and has not stopped ever since. Her massive portfolio is organized into various “Crisis” series, which display an impressive range of styles and moods. Her creations flow from contemplative monochrome to playful color, from spontaneous captures to theatrically staged compositions. The multifaceted artist unravels in front of our eyes, one shot at a time.

Her work emerges from the synergy of three recurring elements in her life: freedom, emotions and fantasy. Anyta believes in unleashing our emotions, in lifting our feet from the ground to face our daily challenges through the prism of imagination. She considers inner chaos is a powerful learning tool. Photography is her instrument to concentrate these emotions and give birth to new beauty.

Anyta’s photographs transmit an inevitable feeling of a trip, an exploration, of surprises waiting to be discovered. The more we see, the more anxious we grow for the next piece of the puzzle. In her words: “Self-portrait gives me the perfect chance to turn the world I know upside down and do whatever I want with it, an essential game for me.

Anyta’s works has been exhibited and published internationally. She also shares her passion for photography in technical and creative workshops around Madrid »

Anyta Madrazo | An Intimate Journey into her Inner World

« We are living in a very visual world these days.  Nowadays we are being bombarded with images all the time, and because of that we can sometimes get the feeling that we’ve “seen it all »

Architect/photographer Daniel Rueda and designer Anna Devis work their way around the world to interact with the best walls, buildings, and structures you could ever lay eyes on. Filled with catchy colors and strong graphic elements, the duo’s images showcase just how far you can go with a great building façade and a little imagination.

Cheeky without being gimmicky, Rueda and Devis often conjure up whimsical scenarios themselves by building their own sets with the help of multiple props, from umbrellas to helium balloons to craft paper. »



by Thomas Jukes

Self-taught, I learn shooting and post-processing techniques in specialized magazines and on forums dedicated to photography, not hesitating to submit my photos to constructive criticism.

Born in Saint-Etenne France in 1956 but spending most of his life and career based in Toulouse, Louis Blanc is a self-taught photographer who gained the art world’s attention when he won the “Body Language” competition at the Festival Européen de la Photo de Nu d’Arle. The first prize for the said competition was the chance to exhibit at the Palais de l’Archevêché d’Arles. Blanc showed twelve photos from his Corpus series and eyes were opened. Not only to the talent of this photographer but also into his fantastically explorative mind.

The photos in the Corpus series are self-portraits. However, they are not your usual set of portraits. In most, we find it very difficult and more often than not impossible to see the face of the subject. When one thinks of self-portraits we imagine someone trying to capture themselves in a photo or painting, usually, this involves the full features or body of the artist. Louis Blanc breaks this common ground with his expressive use of perspective. Hands and feet are pushed forwards towards the camera with the body retreats into the background, this gives the viewer the illusion that these parts of the body are of a vastly different scale. The photographer makes incredible use of this altered scale and perception to completely transform his physical form. The subject becomes almost monster like in many of the images with his hands and feet obscuring the face and torso to create bizarre part human entities, images of Guillermo del Toro’s Pan’s Labyrinth spring to mind, in particular, the eerie character of the “Pale Man”. A demon whose eyes are implanted in his hands with the creature famously putting his hands to his head to place the eyes in the right place. […]

It would be easy to say that the photos of Louis Blanc explore a surreal side of portraiture with the artist wanting to manipulate the image that we see of him. We never see his face or when we do it is obscured or constricted by his body as if the body is in control of the person and that the face is of no i mportance to the form of the whole. The saying “a picture says a thousand words” flits through the mist of confusion when I look at these images, they certainly tell many stories if we care to listen. However, it is the hands which draw one in, the idea that you can tell much about a person by the sight of their hands. Rough hands speak to a life of physical work where they have toughened to protect from harm, small delicate hands adapted to control and finesse, the calloused fingertips of a musician honed to their art. It is not just a person’s face or body which can convey the life or emotion of an individual, our hands are what allow us to interact with the world around us, be those fellow humans or the natural elements. Perhaps Louis Blanc is putting his forward, for us to observe and connect with the artist through the hands that made it. The man behind the camera but instead the hands behind the artist.

What makes the Corpus series so striking, aside from the new ways of seeing, is the wonderful use of true black and white photography. Composed beautifully to always have the subject in the centre of frame mixed with the interesting square crop of the images creates a photo which is instantly pleasing to look upon. The simple mix of tone and sharp contrast works brilliantly with the subject matter, we can see every tiny line and crease in the skin giving the photos a very tactile quality. It is an unforgiving light, completely different to our airbrushed and edited colour images in magazines and on the internet. It is a light which this artist is shining on himself, to say ‘this is me, every part tells a story’ The background of this series is particularly important to the images as a whole. These were not taken in a bright, crisp, clean studio space, they are taken on marked and rough surfaces almost like a stone floor. This choice of space really coheres all of the elements together, adding a textured, gritty depth to the photos.

Corpus is a genuinely fascinating series of photographs in which Louis Blanc unquestionably challenges the norm of self-portraiture. He seems to allow his body to move, flow and contort, the forms captured through the images evoke a body expressing itself as if throwing off the chain of facial expression as a singular form of conveying emotion. We see a living entity which we associate as the human form but one distorted allowing itself to explore every aspect of its shape almost appearing to tackle and convey its own very dynamic language. »

« Le selfie contemporain, en général, c’est donc du figuratif avec plus de rien (du tout) que sans rien (du tout). Le récit du selfie contemporain est une simple esthétisation de son nombril (ce tout), une esthétisation d’un Soi qui a d’abord besoin d’être validé en termes d’estime, d’où l’exigence l’obsession et l’hystérie autour de likes. Ce selfie est du narcissisme brut et même brutal, il est d’une certaine violence parce qu’il est à la fois un haut degré d’intensité du sentiment de Soi et une ardeur quasi frénétique d’injonction (bien plus que la supplication) à la validation de ce Soi-nombril-Tout.

Dans cet ordre de choses, le selfie contemporain est un présentoir pixélisé d’un Moi-Je dans une époque de (sur)consommation de tout. Un Moi-Je, dans une société de/du spectacle, de simulacres et de simulations, en quête de consécration. Et comme en nos temps ordonnancés par le rythme du Next, ou du Swipe Left, ou comme on le disait dans les années 90 du zapping, tout s’oublie aussi vite qu’il apparaît. Nous sommes plus que jamais dans cet Empire de l’éphémère (particulièrement d’inconstance frivole) et dans une temporalité de l’au-delà du là-maintenant (tu me pardonneras mais je ne saurais le formuler autrement ou plus simplement), ce selfie contemporain est un cliché de Soi dont personne ne se souviendra vraiment l’instant d’après.

Son auteur(e) est au fond déjà dans un temps autre, la séquence temporelle suivante, l’au-delà du là-maintenant, le (sur)consommateur aussi, et c’est tout ce que ce cliché de Soi a de Next, l’oubli comme dépassement permanent de l’instant, du présent, du là-maintenant. Mais aussi, surtout, dans une autre perspective, c’est le passage toujours frénétique d’une réalité à une autre, une compilation de réalités éphémères comme une goinfrerie des moments, une sorte de déracinement de Soi au point où il arrive très souvent que les individus sans véritable port d’attache (puisque simulacres et simulations, spectacle et spectateur, next obsessionnel) se posent la question du « Qui suis-je? ou que signifie ce qui et ce que je suis? » après cette inévitable indigestion causée par une telle goinfrerie.

Et personne n’a de réponse à leur donner, d’autant plus que personne ne se souvient même de la question posée. Tout le monde est passé, tout le monde est dans l’instant d’après. Pas d’histoire, et donc pas de mémoire. Next. 

Personne ne se souvient donc vraiment l’instant d’après de tels clichés de Soi. Les clichés ordinaires aussi. De son café préféré, de sa robe ou de son pantalon préféré, de son restaurant préféré, de son parc préféré, de etc. Aucune histoire racontée, aucun récit. Juste du clic clac et diffusion planétaire dans les mondes dématérialisés techno-réseaux sociaux. Personne ne s’en souviendra. La banalité crève avant le coucher du soleil ou le lever du soleil.

Sans doute, tu me diras le but n’est pas que l’on s’en souvienne mais que l’on n’y prenne un certain plaisir, une sorte de satisfaction, un truc hédoniste narcissique, tu auras raison, de ce point de vue je comprends. Sauf que pour moi, cela n’est qu’une pure masturbation. Le narcissisme hédoniste est une masturbation. Et quand les autres se branlent, j’ai tendance à prendre mes distances afin de ne pas trop être éclaboussé pour leurs jets

Bref, une vraie perte d’énergie et de temps. Le rien (du tout) même.

Tu me pardonneras sans doute cette parole sentencieuse digne d’un couperet et analogue à tout ce qui se fait de snobisme bobo-bof-bof.

Déjà, je te rassure les bobo-bof-bof sont les pires masturbateurs qui soient, leurs photographies a priori super sophistiquées ou stylish sont au minimum à chier en termes de vide sidéral et au mieux à oublier en termes d’émotion. C’est de la pure branlette. Photographie-masturbatoire. Faut juste s’éloigner de tout ce foutoir.

Donc, vois-tu il ne s’agit pas de bobo-bof-bof encore moins de snobisme mais simplement de me poser cette question si ordinaire en regardant une photo publiée : « Que me racontes-tu comme histoire ? » « Quel est le récit que tu veux que je lise ? »

Il n’est pas juste question de vibration suscitée par une esthétisation de soi ou de l’objet (et dieu sait à quel point la vibration ou les vibrations d’une histoire, d’un récit, sont d’importance, parce qu’elle ne s’oublie pas, elle est de nature transformationnelle), il est question d’aller au-delà du clic clac et d’introduire dans un imaginaire. »

Clic Clac

« I have always strived to interpret the human condition through the painting; In the future, I hope to further apprehend these ideas and materials.

Salman Khoshroo is an Iranian artist and painter based in Tehran.  He received his degree in Digital Art at the Australian National University. While he has a degree in Digital Arts, he is a self-taught painter, having started his artistic career as a photographer capturing images of the streets of Tehran.    

His painting endeavors began in 2009 when he was forced him to spend more time in his studio following the government crackdown over the Green Movement street protests.  Working in his studio in Tehran, Salman’s  style quickly evolved into abstract art, expressionism, and fauvism

Around 2015, Khoshroo left aside his paintbrushes to experiment with a more direct approach to painting by applying the colors directly using palette knife to spread or smear them across the canvas. The result was a series of large-scale paintings « Wanderer Series ».  All highly abstract in figurative terms but quite precise in intent. The meticulous strokes of paint capture Salman’s every gesture rendering each canvas both a finished work of art and a diagram of its own making, inviting viewers to deconstruct and reconstruct it at will.

His latest works « White on White Portraits » are small pieces compared with the previous ones. With only 20cm x 20cm, these new pieces are painted with a single pigment in a sandbox method, these faces are the result of taking a chunk of paint and molding it. Moving around the paint to form faces, Salman idea is to find people that make the viewer feel something, people you didn’t even know you were looking for.  In this series of portraits, the features are not defined, instead the aim is to capture a human spark with minimal intervention. »

Salman Khoshroo | Featured Artist

« Modern society seems to follow a path of regression and we are not talking only about a physical degradation of the individuals, but also about a psychological and moral degradation. Nowadays, art and all the social sciences, and especially anthropology, have different aspects compared to the past century because individuals became superficial and they are increasingly turning into caricatures.

These approaches may seem radical, but they portray a particular criticism and Verginer Matthias uses irony to describe how he sees modern society. For him, sculpturing the world he lives in, means matching forms, shapes, different materials, animal, insects, birds with a powerful imprint of human fat. This fat, as the main theme for him, expresses basic needs and voluptuousness. Above it, the sculptor adds his subjective perspective by being critical and ironic to his artworks.

Verginer Matt was born in 1982, in Bressanone, Italy. He studied Advertising, Graphics, and Sculpture at School of Arts, Selva Gardena between 1996 and 2001 and he lives and works in Ortisei, Northern Italy. His father, Willy Verginer, was also a sculptor, so this talent past from father to son.

Galleries like Ravagnan from Venice, Selvin from Istanbul or Liquid from Capri exhibited his creations. Also, he had lots of exhibitions and events in Dusseldorf, Milano, Amsterdam, Taiwan, Bruxelles, Ankara and Miami. His figurative sculptures are made of wood, bronze, plastic, and iron. Alongside these materials, he put many female sculptures and busts. All the shapes that he uses are hyperbolized in order to emphasize the man of the third millennium, whose needs are so very basic.

Matt uses fat bodies as the main theme and mixes this repetitive element with all kinds of animals. Therefore, when looking at Matt’s sculptures the viewer discovers: giraffes, zebras, ostriches, elephants, frogs, hippos, pigs, whales, tigers, seals, turtles, dogs, lions, insects and roosters.

Matt criticizes society by using ironic titles to his sculptures: ‘’Pole dance’’, ‘’The king’s queen’’, ‘’Flight lesson’’, ‘’The frog princess’’. His life-size busts are made by plastic and iron and got diverse names like: ‘’Devolution’’, ‘’Shine of prosperity’’, ‘’The Sixth Sense’’, Burn Out’’, ‘’Fall on Deaf Ears’’, ‘’Free as a Bird’’, ‘’Flower Dress’’ or ‘’Eleonora’’. These busts speak about a transfer that individuals suffered. It’s precisely their freedom that kept them caught inside themselves because of their choices. They are bound to their immediate needs.

Human fat, as the main theme, get a little touch of color when Matt adds some red, blue and green to his busts and female sculptures, but the viewer’s eye stays focused on the fat. And that is what Matt wants – to be a critic of his times and to bring his own sanction by being ironic.

There is a voluptuousness of the form he shapes and reshapes, an exaggeration deliberately made. Everything is touched by fat: breasts, legs, arms, bellies, heads.

Irony and criticism interfere when he wilfully chooses animals that are characterized by dynamism and speed: ostriches, tigers, lions, dogs. So, there is a mechanism here which refers to opposite things precisely to display an antonymic relationship, in terms of meaning and aesthetics. The sculptor shows to his viewers how he perceives reality – as being perverted and dramatically changed by immediate needs and consumerism. So, he sculptures not just a physical regression, but also a massive social regression, extended to a moral one, one that causes an identity problem. »

VERGINER MATT | Using irony to describe modern society

« Fineliner drawings on paper warp and shift before our eyes giving a glimpse into the weird but wonderfully brilliant mind of this Dutch artist. Graduating from the Art Academy in Zwolle, Netherlands in 2009 as a visual artist and illustrator, Hoekstra has not stopped his mind from wondering. Daydreaming is a trait that many schools would probably like to see lessen in the classroom and in their students but if you’re creative it can sometimes be the very best tool for discovering your niche. Redmer has “always loved alienation and fantasizing, daydreaming” and was lucky enough to rediscover this passion during his time at the academy.

Children have a fascinating way of seeing and attempting to understand the world. Without proper explanation, theories run rampant and with a good enough imagination, all sorts of weird and wacky thoughts begin to spiral around in their minds. Many of us are unfortunate enough to lose connection with this fascination of all the things around us. With knowledge and understanding in adulthood comes a loss of this childhood wonder.

Redmer is an artist who has whole heartedly embraced this youthful mindset and uses it alongside his talent for illustration to create these surreal drawings.

We can begin to see the artists enthralment for the inner workings of objects and creatures from the day to day to exotic. Extraordinary imaginary worlds are opened up by the artist with his cut away drawings, much like one would see in science museums. However, instead of these machines or animals showing the interior biological or mechanical workings, the artist lets his imagination take over from the real world. We see animals depicted within machinery and humans hidden within animals in an almost scientific drawing style as if we would come across them in a textbook explaining how these things worked. These drawings appear ridiculous as your logical mind steps in to remind you that this is not the way of things but the wonderfully technical drawing style that Hoekstra employs makes them seem so tactile that one could begin to imagine a world flipped on its head where everything we thought we knew was actually untrue. »


Felwine Sarr : « On oublie qu’une communauté, pour qu’elle soit forte, il faut qu’elle soit composée d’individus qui poursuivent les chemins de leurs accomplissements.

Et c’est important que les personnes puissent faire des choix individuels afin de réaliser pleinement leurs potentialités.

Sinon, c’est l’entropie du groupe, qui est guetté par la dégénérescence de l’énergie et il faut que certains prennent des chemins de traverse, sortent, reviennent, renouvellent l’élan, prennent de la distance, du recul, cultivent un feu nouveau…

C’est ainsi qu’ils continueront à apporter à la communauté, y compris en prenant des chemins que le groupe ne comprend pas sur le court terme, en continuant à cultiver leur capital humain, s’ils en ont la possibilité. »

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