Carpaccio magazine
[Illu s t r a t i o n | p h otography | arts]
# 11
Carpaccio Magazine Issue #11: “flowers must be born every instant”* http://magcloud.com/browse/Issue/62579 Get a copy of this http://magcloud.com/browse/Issue/62579 issue here: http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 USA, CANADA, UK http://magcloud.com/browse/Issue/62579 (for the rest of the world: soon available.) http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 (Para el resto de países próximamente disponible) http://magcloud.com/browse/Issue/62579 http://magcloud.com/browse/Issue/62579 Carpacciomagazine
*”Cal que neixin flors a cada instant”, Lluís Llach
Carpacciomagazine
: s r ito
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Maria Cerezo nuevaprimavera.com Emma Llensa florssalvatges.net
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Front cover: Illustration: Ricor
Back cover: Design: Emma Llensa
Collaborators: (thanks to): Levan Kakabadze, Alba Yruela & Rafa Castells, Alexander Kostinskyi, Ana Cabaleiro *coquinete*, Anna Grimal *lagrimal*, Asja Boros, Astrid Andersson, Camila do Rosario, Carla Fuentes *little isdrawing*, Davide Bignotti, Elise Hori, Erin Gilkes, Gabriel Miller, Helen Korpak, Jacobo Medrano, Jessica Polar, Jessica Tremp, Katja Sonnewend, Kirill Savateev, Laura Addari, Lisa *OPPY* Currie, LucĂa Franco, Maike Hemmers, Morgaine Faye, Oscar MartĂn, Rafa Romero, Rebekah Campbell, Ricor, Riki Musafi, Simon Filip and Theo Firmo. Interview with: Levan Kakabadze, Alba Yruela & Rafa Castells ISSN: 2013-4517
All artwork shown on Carpaccio Magazine is copyrighted and protected material and may not be reproduced, adapted or altered w/o the consent of the original artist(s). Carpacciomagazine
Camila do Rosรกrio 21, Brazil
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Ana Cabaleiro *coquinete* calmintrees.blogspot.com Vigo, Espa単a
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Morgaine Faye 22, Portland, Oregon feraleyes.blogspot.com
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Alexander Kostinskyi 22, Kyiv, Ukraine
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Currently attends Polytechnical University. Loves math, theoretical physics, visual arts.
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flickr.com/alex_kostinsky
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Asja Boros Illustrator and photo enthusiast living in Zagreb area, Croatia. “I love creating whimsical, colorful and simple drawings and illustrations.. I usually draw by hand using ink pen, then scan my drawings to color them and add textures digitally. I went to Academy Of Fine Arts in Zagreb, Croatia and got my degree in animation in 2006. In 2008 I started focusing more on illustration and improving my photographic skills.�
threelittlecameras.blogspot.com
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Lisa “OPPY� Currie - fueled by instinct, balance and guacamole! - studying illustration in melbourne (australia) - big on brown paper and meditative patterns
hellooppy.com
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interview with
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Illustration: MarĂa Cerezo
Alba Yruela & Rafa Castells
Selfportrait: Alba & Rafa (photo: Rafa Castells)
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C M: E x pl i queu-nos alguna cosa de vosaltres. A l ba : Só c d ’un poble del nord-est de catalunya ano m e n a t L a B i sbal, on vaig viure i estudiar fins que va i g f e r 1 8 a n ys. Vaig estar esperant aquesta edat pe r p o d e r f u g i r a Barcelona a estudiar, conèixer gent i l l o c s i n t e r e s s ants. Vaig estudiar un “short” curs de fo t o i 2 a n y s de disseny gràfic. Tot i que Barcelona m’e n c a n t a v a i g voler viure l’experiència de viure a Angla t e r r a , L o n d o n exactament i fer un break dels estu d i s d e d i s s e ny gràfic amb en Rafa i alguns amics mé s . R a f a : H o l a , s óc Rafa Castells, vaig néixer a Barce lon a a l m a i g d el 89, vaig estudiar fotografia a Barce lon a i a c t u a l m ent estic vivint al sud est de Londres, am b l’Alba. 24 Carpacciomagazine
Rafa
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Alba
Rafa
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C M: Alba, al teu web hi tens una secció anome nada “Ell” i tu, Rafa, tens una secció anomenada “I’m in love with Alba Yru ela”. Podem veure que teniu una relació artística. Creieu que fareu un pro jecte conjuntament en el futur? Alba i Rafa: Sí, ara estem preparant un projecte junts, no trigarem en posar algunes coses del nou projecte a la web, però no ens volem precipitar ja que ens agradaria fer-lo en format llibre. 28 Carpacciomagazine
Rafa
C M: Esteu vivint a Lon dres actualment. Què hi feu? Quines diferèn cies heu notat entre la vostra ciutat d’origen i Londres?
Rafa
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Alba i Rafa: Estem intentant trobar el nostre camí, vivint experiències noves, aprenent l’idioma, buscant una feina per tenir algo de diners.
També estem buscant una galeria per muntar una exposició amb més artistes emergents. Carpacciomagazine 29
Alba
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C M: O n t r obeu ins pi r a c i ó? Alba : S u p o s o que trobo l a i n s p i r a c i ó culturi tza n t - m e v i s ualment. I nte n t o d e s c o b rir fotògra f s / i l · l u s t r a d o rs cada dia i c a p t a r q u è és el que m ’a g r a d a o em desag r a d a d e c a d a un.
Alba
Aix í e m v a i g f e n t una idea de cap a on m’agradaria seguir ava n ç a n t . T a m b é m’ajuda descobrir llocs o persones nov e s a l a c i u t at. Raf a : m m m , m i r ar els treballs d’altra gent m’ajuda molt.
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C M: Q uè és l a fotografia per vosaltres? A l ba : C o n sidero que la fotografia és necessaria per a m i . E n c a r a que no porti la càmera, veig molts llocs que p r i m e r e l s v eig com a foto i després com a tal. No s é , é s u n a p r e gunta molt complicada d’explicar sense sem b l a r p r e t e n c i osa. R a f a : P e r m i l a fotografia és una eina per expressar emo c i o n s .
// (ENGLISH): you’ll find a translation of this interview in english at our website // // (ESPAÑOL): encontraréis una traducción de esta entrevista en nuestra web //
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Alba
Rafa
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Anna Grimal
*lagrimal*
1985, Palafrugell, Girona
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Maike Hemmers 22, Enschede, Netherlands
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Erin Gilkes
1986, circling around lake ontario, making money the hard way, collecting, caring for cats, watching tv in high def & planning the next five years. 40 Carpacciomagazine
atlantictreefox.com
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Littleisdrawing - Carla Fuentes 23, Valencia, España. Actualmente está finalizando sus estudios de diseño de moda y Bellas Artes. Le gusta el diseño y la ilustración.Ha realizado la imagen para el grupo Polock y el diseño de merchandising para Russian Red, Zahara, La Habitación Roja (entre otros).También colaboraciones para revistas como Vanidad, Art Rocker, LaMilk y Nylon. En noviembre de 2007 la nombraron “talento de la semana” en EP3 (El País) y fue seleccionada entre 10 creativos para realizar un video sobre Sony Rolly.
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Jessica Tremp 28, Melbourne, VIC, Australia jessicatremp.com
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interview with
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Carpaccio Magazine: Tell us something about you. Levan kakabadze: I was born in Batumi, in the Republic of Georgia, and grew up on the beach. During the 90s my country went through tough moments, the separation from the Soviet Union, a civil war and a lot of darkness in the streets. All that sadness, darkness and Black sea perspectives shaped me. I studied Directing in Batumi´s Shota Rustaveli University. During my university years I shot the Optic Nerve trilogy to obtain my diploma CM: Where do you find inspiration? L. K. : I get inspired mostly in periods by friends, my family, by my girlfriend and by childhood. Things that I have experienced sometimes pop in my head while I am walking around with my camera and I try to express them as much as possible. 50 Carpacciomagazine
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CM: What’s photography for you? L.K.: photography helps me view the world from different perspectives, it makes me see things in a different way, it changed my idea of sadness and my idea of love among others. Photography helps me communicate with people, objects, streets and nature and find positive things in those connections.
CM: Do you have any suggestions to help emerging artists? L.K.: Everything will come by itself if you are doing things the way you love to do them
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Laura Addari 26, Italia lauraad.blogspot.com
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LucĂa Franco 29, Uruguay luzdeluciernaga.com
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Rebekah Campbell My name is Rebekah Campbell, or otherwise known as you me and photography on flickr. I am a young lady of the year 1992, and my life is usually described with what I take with my camera. I love when the moment is captured and you can take a glimpse into another world of beauty. I’ve been into photography for a long time because my dad has always been with his camera since I was a little kid. I began to really delve into it and I decided to get a flickr account. After doing that, I was inspired by so many wonderful photographers out there, and I sort of created my own style and sense of what I knew I loved as I went on. I love music and that inspires me alot. Reading is another hobby of mine, but most of all I just love to create beauty out of nothing. It’s like nothing I’ve ever done before.
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Astrid Andersson
I’m a design student (BA,2ond year) in Sweden, as well as an aspiring illustrator. I work both digitally and by hand, mostly in ink or graphite. flickr.com/astridlinnea
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Elise Hori
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Jessica Polar I am a self-taught photographer who comes from a Spanish island, Tenerife, where i was in love with the volcano and the sea. I have lived in Madrid, Edinburgh and now in Berlin, the place that really captured and inspired me.
jessicapolar.net
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Oscar MartĂn
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Oscar Martín es un diseñador de interiores e iluminación que reside en Madrid. El dibujo y la ilustración siempre ha estado presente en sus proyectos; ya sea como miembro del dúo creativo Letoy, diseñador de muñecos de autor, comisariado de exposiciones en galerías de Madrid y Barcelona (Madismad, Off*Ample) o como vehículo para el desarrollo de una parte más íntima y personal. Las personas, lugares, situaciones y experiencias de su entorno más cercano terminan encontrando un lugar en una de sus libretas desde donde revelan sus anhelos, sueños, alegrías y frustraciones pero siempre con la visión particular de quien los retrata. byoscarmartin.com Carpacciomagazine 67
Rafael Maia Santo Agostinho
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Gabriel Miller & Daniela FernĂ ndez
Punta Arenas, Chile
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Simon Filip Sacramento, California
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Theo Firmo B. in Brazil L. in Madrid
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Rafa Romero Spain
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flickr.com/arbore
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Helen Korpak 1989, Helsinki, Finland. Lived my childhood and adolescence 50/50 in the country and in the city and am currently debating whether I am an urban person or not. I started photographing roughly two years ago - had barely ever hold a camera before that - and suddenly realized it was the best thing I know. Photographing for me is directing still, micro-second long films and opening my eyes to all the things in life and documenting them.
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At the moment I study literature and hunt my hometown for cheap places to develop film. The work submitted here show different aspects of faith to me: faith is dreaming, faith is real, faith is obvious, faith is hidden... Faith is an essential part of a life, religious or not. Carpacciomagazine 77
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Davide Bignotti 21, Milan, Italy cargocollective.com/davidebignotti
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Ricor Taipei .Taiwan flickr.com/inverselive
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Kirill Savateev “Faith”. Translated from russian by Tatiana Amelina. ‘It is odd to be back here after so many years.’ ‘Have you been here before?’ ‘Yes, once. My parents rented this house for a few weeks one summer.’ The landlady went on showing him how to use the heating system and everything else, while O. tried to search with his eyes for at least one detail that would indicate some change in the house. ‘And now it is I who is renting it from you. A quarter of a century has gone by, but nothing has changed.’ In a few moments, the logistics were over and done with. O. got the house keys and remained there alone until the following day for the housewarming party with his colleagues and acquaintances. D. had insisted that they celebrate their move. She even had left O. alone in the silence and solitude as a compensation for the anticipated noise of the following day. As the night fell, the silence began pressing resonantly on the walls forcing him to take a walk before going to bed. Upon leaving the house and finding himself at the bottom of the cool ocean of night, O. had the feeling that he was a little boy again who happened to be here for the first time. Going around the house, he once more noted that so little had changed since then. Large-scale house construction, fortunately, did not reach these parts. It just bypassed them in some strange way. 82 Carpacciomagazine
A few old houses were still standing snuggled beside one another at the spot where two narrow rivers met. Respectable-looking oak trees, growing on the banks of the rivers, not only prevented the water from being warmed by the heat of the sun that was so rare in this area, but also hid the houses from strangers’ eyes. Trying to walk long enough to insure a good night’s sleep, O. decided to go down the bank of the North river which derived its name from its extremely cold water. Carpacciomagazine 83
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The bright moon lit the fog spreading over the water. Its whitish mass enfolded the trees which had been struck by lightening and had fallen into the river. O. tried not to lose sight of the window of the room where he left the light on, which served him as a beacon. When the yellow rectangle became the size of the nail on his little finger, O. turned back. As soon as he had taken a few steps towards home, he heard a voice that had a strange mechanical sound to it. O. could not figure out many words, but the most frequently pronounced word was ‘willows’. O. was briskly walking to his house, and the closer he approached it, the louder became the voice. “Stars still crowded the sky directly overhead, and the wind howled magnificently, but the fire no longer gave out any glow, and I saw the east reddening in streaks through the trees. Several hours must have passed since I stood there before watching the ascending figures, and the memory of it now came back to me horribly, like an evil dream,” is what could be heard from one of the neighboring houses having tightly boarded up windows. O. recognized Blackwood’s story “The Willows”. His curiosity conquered all other feelings, and he approached the front door of the mysterious, seemingly long abandoned, house. Inside, there were no lights; only the recording of the story was playing. O. knocked at the door which was slightly ajar, and, not getting any answer, he entered the house. Upon opening the door, the moonlight lit the record player and a feeble hand with long fingers next to it. O. tried to talk and apologize for the intrusion.
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‘Let’s listen together’, a quiet, low, hardly audible voice suggested. O. even began to doubt if he really heard the utterance. He sat down with his back to the nearest wall. There was no furniture, but, for some reason, he felt very comfortable. The entrance door shut behind him, and now the house did not give the light any chance. They were sitting and listening without noticing as the night ended and the morning became day. “The Willows” and “The Wendigo” were followed by Poe’s stories. All of a sudden, O. was jolted by the honking of cars and joyful exclamations. He left the house, and for a long time, the daylight kept blinding him. Then there was a celebration. A large crowd was having a blast. O. wished that those who were strangers to him got drunk quickly, fell asleep and left his house on the following day. He had no intention of sharing his secret with anyone. D’s question, though, caught him at a moment when whisky had already loosened his tongue. ‘What are you thinking about?’ ‘You know, I used to live here in my childhood for a few weeks. My parents rented this house as a place to relax outside the city. Perhaps those days wouldn’t have stuck in my memory in any way if it hadn’t been for the solar eclipse. It is surprising, but these few neighboring houses, every one of them, were populated by my peers, and, naturally, all of us, like it or not, were in constant communication. We also prepared together for the solar eclipse – the usual blackening pieces of glass that were supposed to serve as filters and protection for our eyes. Up to the very day of the eclipse, we guarded those pieces as if they were the greatest treasures in the world. 86 Carpacciomagazine
All of us gathered in the nearest field well in advance; nevertheless, we ran to it, racing with one another. I ran next to a boy, whose face or name I cannot recall. But it seems he looked like me – the same light-colored hair, the same height and physical frame. Neither of us wanted to give way, and, at one of the turns, we ran into each other and fell to the ground. Our pieces of glass slipped out of our hands and crashed. No other boys shared their pieces with us, and I missed the eclipse fearing for my eyes. But that boy kept looking and looking at it as if he were transfixed. It was in the evening of the same day that I saw him last. I could see that his eyes were bandaged as he closed the blinds of his window by touch. Yesterday I did not only come back here, but I also visited the house where he lived.’ D. could not wait to see the place where O. listened with the stranger to the mysterious stories all night long. It wasn’t the first time that O. could not say no to D. The door of the boarded up house was closed, but not locked. Inside everything was quiet. O. entered first, and, through the door, D. could hear how he was apologizing for bringing one more person who wished to listen to the stories. Suddenly D. opened the door and lit up the entire space of the house with her flashlight. Next to the record player, there was a pile of records carefully stacked, and nothing or nobody else. ‘I always knew all your friends were imaginary.’ ‘Imaginary or not, I hope he will trust me again.’ O. made his home in this place for a long time. Having decided that it was too early for them to move in together, D. visited him for a shorter time each month until she disappeared completely. Carpacciomagazine 87
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Riki Musafi 28, Israel (tlv). flickr.com/riki_mus
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Katja Sonnewend Berlin sonnewend.com
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Jacobo Medrano 1981, Madrid
El ojo de dios “Hice estas fotos en las carreteras secundarias de Rumanía, sobre todo en las regiones de Transilvania y Moldavia. Los cristos que aparecen en ellas probablemente indiquen el lugar de un accidente o una antigua iglesia, u ofrezcan protección a los habitantes de la zona. No lo sé. Pero su omnipresencia hace que, al poco rato, me empiece a sentir observado. 94 Carpacciomagazine
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Están allí, inquietantes, cada pocos cientos de metros, encaramados a sus cruces de madera. Vigilándolo todo con ojos pintados en chapa. Como el Gran Hermano de la novela de Orwell. Sin perderse un solo detalle desde la cuneta o los campos o lo alto de una colina. Son el constante recuerdo de la superstición y la magia en esta tierra de niebla. Son el ojo de dios, que todo lo ve.” jacobomedrano.com
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weareh
hungry. flickr.com/groups/carpacciomagazine flickr.com/groups/carpacciomagazine flickr.com/groups/carpacciomagazine
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CALL FOR SUBMISSIONS: ISSUE #12 deadline 1st March