[Ce livre est une invitation à] défendre la liberté de création des artistes, précieuse dans une société prétendument ouverte et vivante, contre toute tentative d’instauration d’une police de l’imaginaire.”
“Stu Mead, l’Indomptable”
présenté par Xavier-Gilles Néret
« Lecteur assidu dans son enfance des dessins d’humour du New Yorker, Mead traite souvent ses personnages dans un style grotesque, qu’on peut comprendre comme une satire. En particulier lorsqu’il aborde des sujets religieux : communiantes profanant l’office catholique et déniaisant des prêtres, par exemple. Mais il ne revendique aucune interprétation a priori de ses créations. Il n’y a rien de démonstratif dans son art, dont l’enjeu principal est d’explorer sans autocensure, par le dessin spontané et la peinture, les profondeurs de l’imagination, proclamée « reine des facultés » par Charles Baudelaire. Influencé par les couvertures des pulps et par les comics de Robert Crumb – autant que par les cartes postales des bords de mer anglais –, Stu Mead est aussi un admirateur de Hans Bellmer, Balthus et Henry Darger, dont les œuvres figurent désormais dans les plus grands musées du monde.
[Ce livre est une invitation à] défendre la liberté de création des artistes, précieuse dans une société prétendument ouverte et vivante, contre toute tentative d’instauration d’une police de l’imaginaire.”
–Xavier-Gilles Néret
“Mais que salubre est l’imaginaire indomptable !”.
Stu Mead ‘LIndomptable’ Couverture, 2025
Bu kitap, sözde açık ve canlı bir toplumda değerli bir meta olan sanatçıların yaratıcı özgürlüğünü ve hayalgüçlerini bir polis gücü kurma girişimlerine karşı savunmak için bir davettir.
“Çocukken New Yorker karikatürlerinin hevesli bir okuyucusu olan Mead, karakterlerini genellikle hiciv olarak anlaşılabilecek grotesk bir tarzda ele alıyor. Bu, özellikle dini konuları ele aldığında geçerlidir: örneğin, komünyon kızlarının Katolik ayinlerini kirletmesi ve rahiplerin özgürlüklerini reddetmesi. Ancak yarattıklarıyla ilgili herhangi bir a priori yorumlama iddiasında değildir. Onun sanatında, Charles Baudelaire’in ‘yetilerin kraliçesi’ ilan ettiği hayal gücünün derinliklerini otosansür uygulamadan, spontane çizim ve boyamalarla keşfetmek gibi gösterişli bir şey yoktur. İngiliz sahil kartpostalları kadar pulp dergi kapakları ve Robert Crumb’ın çizgi romanlarından da etkilenen Stu Mead, aynı zamanda eserleri bugün dünyanın en büyük müzelerinde yer alan Hans Bellmer, Balthus ve Henry Darger’ın da büyük bir hayranıdır.
–Xavier-Gilles Néret
“Mais que salubre est l’imaginaire indomptable !”
“Ama yılmayan hayal gücü ne kadar da sağlıklıdır!“
24 Nisan Perşembe günü Sterput, Or Bor tarafından yayınlanan ‘Stu Mead, L’Indomptable’ kitabının lansmanı için Xavier-Gilles Néret (yazar) ve Annabelle Dupret’i (yayıncı) ağırlayacak. Kitap Sterput’ta satışa sunulacaktır. Présentation du livre > Stu Mead, l’Indomptable
“Stu Mead, l’Indomptable”
‘An avid reader of New Yorker cartoons as a child, Stu Mead often treats his characters in a grotesque style that can be understood as satire. This is particularly true when he tackles religious subjects: communion girls desecrating Catholic services and denying priests their freedom, for example. But he does not claim any a priori interpretation of his creations. There is nothing demonstrative in his art, whose main challenge is to explore, without self-censorship, through spontaneous drawing and painting, the depths of the imagination, proclaimed ‘queen of the faculties’ by Charles Baudelaire. Influenced by pulp magazine covers and Robert Crumb’s comics – as much as by English seaside postcards – Stu Mead is also an admirer of Hans Bellmer, Balthus and Henry Darger, whose works now feature in the world’s greatest museums. [This book is an invitation to] defend the creative freedom of artists, a precious commodity in a supposedly open and vibrant society, against any attempt to establish a police force for the imaginary.’
“Mais que salubre est l’imaginaire indomptable !”
–Xavier-Gilles Néret
“But how salubrious is the indomitable imagination!”
-On Thursday 24 April, Sterput will be welcoming Xavier-Gilles Néret (author) and Annabelle Dupret (publisher) for the launch of Stu Mead, L’Indomptable, published by Or Bor. The book will be on sale on site.-
“If the graphic terrorists of Dernier Cri are intent on destroying the world – or, as Bolino puts it, “cleaning it up” – they are doing so in order to invent a new one, in accordance with Charles Fourier’s rule of absolute distance, and bring beings and things into existence on a new horizon.“
Jeudi 24 avril, le Sterput accueillera Xavier-Gilles Néret (auteur) et Annabelle Dupret (éditrice) pour la sortie du livre “Stu Mead, L’Indomptable” aux éditions Or Bor. Le livre sera en vente sur place.
“Her sanatçı az çok sapkındır. Az ya da çok, örtük ya da görünür bir sapkınlığın kaçınılmaz ve verimli olduğuna inanırım. Tonları, miktarları, çeşitleri olan türlü türlü çizgi dışı eğilimin beslediği “kirli” bir su akıyor benim de içimde ve bununla yüzleşmekten korkmuyorum.”
Karikatürist, ressam, heykeltıraş Bahadır Baruter’in Ruhaltı dizisi, bir kuşağın “ruh” dünyasını derinden etkilemiştir. Kimilerinin editörü de olduğu dergilerde yayımlanmış karikatürlerinde bir kara mizah üslubu geliştiren, yeraltından bakan, tabulara dokunan sanatçı, benzer dönemlerde başlayıp sürdürdüğü Ruhaltı dizisinde çok daha karmaşık taramalar ve incelikle tasarlanıp işlenmiş metamorfoz kompozisyonlarıyla dergi ciltlerinde özerk bir alan açmıştır. Ruhaltı, tekstüel bir eşlik gerektirmeyen, özel bir grafik okuma ve bu okumayı olanaklı kılan özel bir hafıza talep eden yapısıyla zaman içinde içinde yer aldığı dergilerden ayrılıp kült statüsü kazanmış ve kitaplaşmıştır.
Baruter ‘Ruhaltı’ Flaneur 2024
Atölye Ziyaretleri: Bahadır Baruter, 2022
Baruter ‘Ruhaltı’ Flaneur 2024
Ruhaltı saf sürrealizmi ve poetik “karanlığı” ile Franz Kafka’nın devamı gibidir.
Baruter’in Ruhaltı ile açtığı hat, her şeyden önce “dönüşmekte” olan bir evrene bizatihi bu dönüşüme, başkalaşmaya katılarak “içeriden” bir bakış atma cesareti açısından, öncüdür. Çoğu Ruhaltı “macerasının” kahramanı ya dergi okuyan ve dönüşümler tetikleyen bir Okur figürü ya da bizzat sanatçının kendisidir. Merkezdeki kahraman kim ya da ne olursa olsun bir Ruhaltı epizodu, her panelinde tekinsizlik, düzensiz gibi görünen ama kendi estetik/etik tutarlılığı içinde metamorfoza uğrayan, başka imgeler ve şeylerle birleşip ayrılan, ortaya çıkan ya da kaybolan sayısız temsil içerir. Ruhaltı saf sürrealizmi ile Salvador Dali’nin, bembeyaz fonlarda cereyan eden olayları resmetse bile mutlak poetik “karanlığı” ile Franz Kafka’nın devamı gibidir. Sanatçının kendisini içinde resmettiği durumlardaki biçim değişiklikleri sanatını ve yaratıp yok ettiği tarzların işleyiş biçimlerini de, eserin kendisi ile deşifre etmektedir sanki. Sadece Türkiye resim sanatında değil, Ruhaltı, bu özelliğiyle dünya çapındadır: Aynı anda hem kendisi olan hem de -bir aracı elitler ordusuna gereksinim duymaksızın- kendisinin deşifresini yapan eser. 1990’ların ortalarından 2000’lerin sonlarına dek süren bu sürrealist macera, ilk Ruhaltı sayfasının yayımlanmasının neredeyse 30. yılında, standart edisyonunun yanında numaralandırılmış limitli bir edisyonuyla da, Flaneur Books etiketiyle raflardaki yerini şimdiden aldı.
Baruter, resimlerinde lanetli tapınaklar olarak gördüğü evlerin derinlerine tekinsiz bir yolculuk yapıyor.
Baruter ‘Ruhaltı’ Flaneur 2024
Bahadır Baruter’in ‘Evim Evim Güzel Evim’ resim sergisinin tanıtım videosu. Galeri X-ist, Mayıs 2014
Baruter ‘Mukadderat’ 2015, Silikon heykel, 130×35 cm / Photo by Yamanlıca, Bodrum Inspera 2024
“Tanrıyı bilirim, ama inanmam.”
Baruter ‘Mukadderat’ 2015, Silikon heykel, 130×35 cm / Photo by Yamanlıca, Bodrum Inspera 2024
“Kötü kalpli sanatçı yoktur; varsa da şayet mutlaka sanatçı görünümlü bir tüccar, politikacı ya da züppenin tekidir ve dikkatli bakarsan kendinihemen eleverir.“
Baruter ‘Ruhaltı’ Flaneur 2024
“İyi sanat ne meşrulaştırır, ne de özendirir; sadece kırarak yansıtır, teşhir eder ve buradan suç çıkmaz. Ancak banal sanat suçlu pozisyona düşer, iyi sanat her zaman masumdur.”
‘Tarihin tüm aldatıcı gerçekleri ve tereddütlerini aydınlığa çıkarmak için efsanevi bir Taş Devri ekonomisi gerekiyor — rahipler yerine şamanlar, lordlar yerine ozanlar, polis yerine avcılar…’
Hakim Bey ‘Ontolojik Anarşizm Nüshaları’ndan Türkçeleştiren İmam Mayıs Aru
KAOS ASLA ÖLMEDİ. Başlangıçta var olan yekpare kütle, tapılacak biricik canavar, durağan ve kendiliğinden, herhangi bir mitolojiden daha kızılötesi (Babil’in önündeki gölgeler gibi), varlığın özgün, ayrımlaşmamış birliği, hâlâ daha sükûnetle ışın saçıyor Suikastçıların kara sancakları gibi, gelişigüzel ve ebediyen sarhoş.
Kaos, tüm düzen ve entropi ilkelerinden önce gelir, o ne bir tanrıdır ne de bir sinek kurdu, onun ahmakça tutkuları olası her koreografiyi kuşatıp tanımlar, manasız tüm eterleri ve filojistonları1: maskeleri kendi çehresizliğinin kristalleşmeleridir, tıpkı bulutlar gibi.
Doğadaki her şey mükemmel bir biçimde gerçektir bilinç de dahil, kesinlikle dert edecek hiçbir şey yok. Yasanın boyunduruğu kırılmakla kalmadı, asla var olmadı da; iblisler asla yıldızlara bekçilik etmedi, İmparatorluk hiç başlamadı, Eros asla sakal bırakmadı.
Yo, dinle, gerçekte olan şuydu: sana yalan söylediler, iyi ve kötüye dair fikirlerini sana yutturdular, bedeninden şüphe etmeni ve kaos peygamberliğinden utanç duymanı sağladılar, moleküler aşkın için tiksindirici sözcükler icat edip, seni ihmalle afsunladılar, uygarlık ve onun tefeci duygularıyla içini sıktılar.
Oluş diye bir şey yok, ne de devrim, mücadele ya da yol; hâlihazırda sen kendi teninin şahısın –çiğnenmesi mümkün olmayan özgürlüğün tamamlanmak için yalnızca diğer şahların sevgisini bekliyor: bir rüya politikası, göğün maviliği kadar ivedi.
Tarihin tüm aldatıcı gerçekleri ve tereddütlerini aydınlığa çıkarmak için efsanevi bir Taş Devri ekonomisi gerekiyor — rahipler yerine şamanlar, lordlar yerine ozanlar, polis yerine avcılar, yontma taş devri miskinliğinin toplayıcıları, kan gibi zarif, bir alamet peşinde anadan üryan yahut kuşlar gibi boyalı, dengelenmiş aşikâr varlığın dalgası üstünde, saatsiz an-ı daimde.
Kaosun temsilcileri içinde bulundukları hale, lux et voluptas2 ateşlerine tanıklık etmeye muktedir her şeye ve herkese yakıcı bakışlar atarlar. Ancak terör noktasına varana dek sevdiğim ve arzuladığım şeylerle ayığım – geri kalan her ne varsa kefenli mobilyalardır, gündelik anestezidir, beynin bokudur, totaliter rejimlerin alt-sürüngen can sıkıntısıdır, basmakalıp sansür ve beyhude acıdır.
Kaosun avatarları tıpkı casuslar, sabotajcılar, amor fou3 suçluları gibi hareket ederler, ne kendilerini düşünmeden ne de kendi çıkarlarına; çocuk gibi kandırılabilir, barbarlar gibi terbiyesiz, takıntılarla yaralanmış, işsiz, duygusal açıdan dengesiz, kurtmelekler, tefekkür aynaları, gözleri çiçekler gibi, tüm alamet ve manaların korsanları.
İşte burada emekliyoruz kilisenin, devletin, okulun ve fabrikanın, tüm paranoyak yekpare taş duvarları arasındaki çatlaklarda. Yabanıl hasretle kabileden bağlarımız kesilmiş, kayıp sözcüklerin, farazi bombaların peşinde tünel kazıyoruz.
Olası son amel bizleri bağlayan görünmez altın bir sicim olan algının kendisini tanımlayandır: adliye koridorlarında gayrı-meşru bir dans. Şuracıkta seni öpecek olsaydım buna terör eylemi derlerdi – öyleyse altıpatlarlarımızı yatağımıza alalım ve bir vaveylayla kaos tadının mesajını kutlayan sarhoş haydutlar gibi gece yarısı şehri uyandıralım.
filojiston: Yunanca tutuşkan anlamında, simya ilmine göre maddelerin yanmasına neden olan ilke↩︎
Bağımsız müziğin güçlü seslerinden Selin Baycan, ilk albümü “Aşina” ile 19 Mart’ta Babylon’da.
Gönlümüzde derin sızılar bırakan şarkılarıyla tanıdığımız Selin Baycan, 2019 yılından beri yayımladığı kayıtlarını nihayet ‘Aşina’ isimli albümünde bir araya getirdi. 19 Mart’ta düzenlenecek olan albüm lansman gecesinde Kalben, Yasemin Mori, Brek gibi sevilen müzisyenler de sanatçıya eşlik edecekler.
Avcumdaki çizgiler Silinirse ne farkeder Aynalara çarpa çarpa Büyütür bu sır beni
Aşinayım ezelden Aşinayım ezelden Aşinayım ezelden Bu acıya
Yönetmenliğini Elif Tekneci’nin, sanat yönetmenliğini Nur Şevval Yılmaz’ın üstlendiği videoda ayrılık ânının ve henüz yanıtlanmamış soruların kederiyle baş başa kalıyoruz. Renkler kaybolmuş, sesler susmuş, bir devir kapanmış. Artık aynaya, kendimize bakıyoruz. “Kaybolan Ne Var”ı şimdiden loop’a aldık bile; özlemle beklediğimiz sonbaharımıza arkadaş olacak gibi görünüyor.
Çellist ve besteci Gülşah Erol‘un projesi Loli, yapay zekâ teknolojilerini kullanarak ürettiği ‘Electric Love‘ adlı yeni eserini müzikseverlerle buluşturdu.
Klasik müzikten rock’a, cazdan deneysel performansa ve film müziğine uzanan geniş yelpazedeki çalışmalarıyla tanınan sanatçı, bu kez elektronik müzik alanında yenilikçi bir projeye imza attı.
Abletonlive ve çeşitli AI yazılımlarının harmonik birlikteliğiyle ortaya çıkan eser, dijital çağın müzik üretimindeki etkisini yansıtıyor. İstanbul Jazz Festival, Sundance Film Festivali gibi prestijli platformlarda yer alan ve Peter Brötzmann, Joe McPhee gibi önemli müzisyenlerle çalışan Gülşah Erol, farklı üretim teknikleriyle bu projede dikkat çekiyor.
Electric Love · Loli Sacred Heart / 2025 Gülşah Erol
“Müzik ve teknolojinin kesişiminde yeni deneyimler yaratmak beni heyecanlandırıyor” açıklamasında bulunan sanatçı, gelecek projelerinde de yapay zekâ ve müzik entegrasyonunu sürdürmeyi hedefliyor. Gülşah Erol’un bu yaklaşımı, müzik endüstrisinde yapay zekâ kullanımının yaratıcı potansiyelini ortaya koyarken, diğer sanatçılara da ilham kaynağı olmayı amaçlıyor. (Kaynak: habereguven.com)
MUTRİB ‘Dünyam’ / Live at ODTU MT Rock Festival 2013
Gülşah Erol / Mutrib Session, 2013
Gülşah Erol / Mutrib Session, 2013
LOLI As A Cyberfeminist Experiment
Sexy & Smart
Cellist and composer Gülşah Erol’s project Loli brought her new work ‘Electric Love’, produced using artificial intelligence technologies, to music lovers.
Known for her works ranging from classical music to rock, jazz, experimental performance and film music, this time she has realized an innovative project in the field of electronic music.
The work, created with the harmonic combination of Abletonlive and various AI software, reflects the impact of the digital age on music production. Gülşah Erol, who has participated in prestigious platforms such as Istanbul Jazz Festival, Sundance Film Festival and worked with important musicians such as Peter Brötzmann and Joe McPhee, draws attention with different production techniques in this project.
“Creating new experiences at the intersection of music and technology excites me,” says the artist, who aims to continue the integration of artificial intelligence and music in her future projects. Gülşah Erol’s approach reveals the creative potential of using artificial intelligence in the music industry and aims to inspire other artists.
Le projet Loli de la violoncelliste et compositrice Gülşah Erol a présenté aux mélomanes sa nouvelle œuvre « Electric Love », produite à l’aide de technologies d’intelligence artificielle.
Connue pour ses œuvres allant de la musique classique au rock, en passant par le jazz, la performance expérimentale et la musique de film, elle a cette fois-ci réalisé un projet innovant dans le domaine de la musique électronique.
L’œuvre, créée par la combinaison harmonieuse d’Abletonlive et de divers logiciels d’intelligence artificielle, reflète l’impact de l’ère numérique sur la production musicale. Gülşah Erol, qui a participé à des plateformes prestigieuses telles que le festival de jazz d’Istanbul, le festival du film de Sundance et a travaillé avec des musiciens importants tels que Peter Brötzmann et Joe McPhee, attire l’attention avec différentes techniques de production dans ce projet.
« Créer de nouvelles expériences à l’intersection de la musique et de la technologie me passionne », déclare l’artiste, qui souhaite poursuivre l’intégration de l’intelligence artificielle et de la musique dans ses futurs projets. L’approche de Gülşah Erol révèle le potentiel créatif de l’utilisation de l’intelligence artificielle dans l’industrie musicale et vise à inspirer d’autres artistes.
Crucified is I. I: once the Neophyte Then, the Hierophant for I have treated milk for the infant and meat for the cadet from the fertile fountain o’ the Absolute: The Arcane Truth; the matter in its youth, such a poet in retreat who ventured to tempt all the unhallowed who were outraged from the tumult and the mind’s graft. They: In darkness pelt the pearls before the swine, wink at the artifice that built all those Pyramids and whispered to my ears as my lips are almost there.
Burak Bayülgen, Mezunlar Derneği’nde korku sineması üzerine konuşuyor, 2013
NEOPHYTE
Burak Bayülgen
He is no longer a child nor is he a neophyte. From boon insensibleness, extracts The Omniscience – Baiame’s son Daramulun once he knew as Bimban – the pearly white molar tooth which’s blood shall not be spit or He revives the infant with many scalds deficiant, then what has been ingulfed and rousingly disgorged better be immolated to his foregone childhood.
Burak Bayülgen Ph.D at Cinema and Media Research at Bahçeşehir University
Antoine Paris, devant son stand. Photo par Alain Cornu, 2024
Paris est une fête : pour incarner le mot d’Hemingway, qui mieux que ses bouquinistes qui célébreront ce week end le festival Paname bouquine ?
Les boîtes vertes emblématiques du paysage urbain offriront une myriade de rencontres et de surprises autour du livre (dédicaces, jeux de piste, lectures, expositions, performances…) sous la houlette de Camille Goudeau et Elena Carrera, à l’initiative de l’opération. L’inscription au patrimoine culturel immatériel français en 2019 a remis un coup de projecteur sur cette profession séculaire, organisée par un décret de 1859, régissant l’installation par l’entremise de la mairie (régime dérogatoire sans taxe ni loyer). En avril dernier, un comité présidé par Olivia Polski, adjointe à la maire de Paris, a élu 10 nouveaux lauréats. Ces jeunes recrues s’ajoutent aux 230 recensés en 2021, ce qui fait dire à l’édile que « cette activité fait des quais de Seine la plus grande librairie à ciel ouvert au monde ». Si en 2021, 40 % de ces bouquinistes avaient plus de 65 ans et 80 % plus de 50 ans. la profession tend doucement à se féminiser et à se rajeunir. Au 8, quai du Louvre, sous de faux palmiers acidulés, le Colis piégé fait l’étalage d’une production irrévérencieuse à souhait, spécialisée dans les fanzines d’artistes, avec, derrière les boîtes, Antoine Paris, artiste mettant en scène ses créations et celles de son collectif. Le ton est donné à la lecture des titres proposés à la vente : Friture Anarchie Vandalisme, The Red list. Subterfuge, Tes Clopes m’ont laissé des cendres ou encore Grosse victime magazine, sélectionné pour la troisième année consécutive au prix de la BD alternative du FIBD d’Angoulême 2023. Le pari d’Antoine Paris ? « Faire le pont entre les vieux maîtres de l’art contemporain et les jeunes artistes talentueux », citant entre autres Robert Combas, Noël Godin, Lemi Ghariokwu, Jean-Pierre Dionnet, Nicole Claveloux, Siné, Stéphane Blanquet, Etienne Boissier, Jill Chauvat, Cari Meffert, Martes Bathori.
LUCILE THEPAULT, L’IMAGE DU JOUR / QDA 28.06.23 N°2639
Lucile Thepault, L’Iimage Du Jour / QDA 28.06.23 N°2639
Antoine Paris, Performance à la craie devant le 59 rue de Rivoli
Paris is a party: to embody Hemingway’s words, who better than the bouquinistes who will be celebrating the Paname bouquine festival this weekend?
The green boxes, emblematic of the urban landscape, will be offering a myriad of book-related encounters and surprises (book signings, treasure hunts, readings, exhibitions, performances, etc.) under the leadership of Camille Goudeau and Elena Carrera, who initiated the operation. Inclusion on France’s list of intangible cultural heritage sites in 2019 has put the spotlight back on this centuries-old profession, which is governed by a decree dating from 1859, regulating installation through the town hall (a tax- and rent-free dispensation). Last April, a committee chaired by Olivia Polski, deputy mayor of Paris, elected 10 new winners. These young recruits will be joined by 230 by 2021, prompting the mayor to say that ‘this activity makes the Quays of the Seine the largest open-air bookshop in the world’. In 2021, 40% of these booksellers were over 65 and 80% over 50, but the profession is slowly becoming younger and more feminine. At 8, quai du Louvre, under fake acid palm trees, the Colis piégé displays a highly irreverent production, specialising in artists’ fanzines, with, behind the boxes, Antoine Paris, an artist showcasing his creations and those of his collective. The tone is set by the titles on sale: Friture Anarchie Vandalisme, The Red list. Subterfuge, Tes Clopes m’ont laissé des cendres and Grosse victime magazine, shortlisted for the third year running for the alternative comics prize at the Angoulême 2023 FIBD. Antoine Paris’ challenge? ‘To bridge the gap between the old masters of contemporary art and talented young artists. and talented young artists’, citing among others Robert Combas, Noël Godin, Lemi Ghariokwu, Jean-Pierre Dionnet, Nicole Claveloux, Siné, Stéphane Blanquet, Etienne Boissier, Jill Chauvat, Cari Meffert and Martes Bathori.
3° édition du festival Paname Bouquine, les 1°’ et 2 juillet 2023, Paris, quais delà Seine. panamebouquine.com « Gare au gorille dessiné au stylo bille, festival alternatif underground d’avant-garde des refusé », premier salon du Graphzine et du Fanzine au marché Brassens (104, rue Brancion, 75015), les 1°’ et 2 juillet 2023. marchedulivre.paris Le Coli piégé, boîte de bouquiniste, 8 quai du Louvre, 75001 instagram.com/le_colis_piege
Maybe we are still living in that trance in which we do not want to see what it is in front of our eyes, opting to live a life of ignorance and blindness under the protection of the few neon lights bulbs glowing from our smartphone. Ilaria Novelli is one of those few and outstanding artists that dare to turn off the illusion and tune in the now.
Ilaria “Ila Pop” Novelli is an Italian multi-disciplinary artist; she uses different media, from oil painting to digital techniques to create a dollesque and disturbing universe. In the line of those visions developed by those hidden creators such as the late Henry Darger or Stu Mead, Novelli unfolds to us a colorful world inhabited by willowy and doe-eyed figures who exchange roles from victim to perpetrator in a constant play that inspires on classical and modern art compositions. Ilaria is aware the world we live immersed in: an ever-lasting sense of screened future, full of information and constant visual stimulus. Many of the characters of her pieces represent the delirious extreme of such premises. Songs’ lyrics and heroes/villains from underground literature and cinema play an important role as inspiration too. Through Ilaria Novelli’s art is an ongoing project generating a private mythology and language, for some dark and magical reason it become universal, forcing the viewers to develop a critical analysis of the cultural and social values that the modern human condition is offering to the new and old generations.
Ila Pop, 2020
“I consider eroticism allegorical and symbolic, it leads to our nature both in a human and in an eternal/ethereal form, my take on the erotic element is always innocent and spontaneous rather than sexualized and uninhibited. Eroticism and obsession in art are always metaphors, they are part of an intimate and private mythology. I should write an excruciatingly long list of my major influences: I took inspiration mostly from writers and film directors.” -Ila Pop
Maybe we are still living in that trance in which we do not want to see what it is in front of our eyes, opting to live a life of ignorance and blindness under the protection of the few neon lights bulbs glowing from our smartphone. Ilaria Novelli is one of those few and outstanding artists that dare to turn off the illusion and tune in the now.
“…Tüm ticari kaygılardan uzakta “Nutshell Studies Of Unexplained Death”in prodüksiyonu o kadar iyi ki onu dinlemek bile gerçek bir acıya neden oluyor…”
2018 yılında basçı ve vokalist Can Temiz tarafından hardcore punk ve death metal ekseninde farklı metal türlerini sentezleyen bir proje olarak ortaya çıkan EXNUN, ilk albümleri “Decomposition Of An Infant Soul”un 2019 yılında yayınlanmasıyla yerli sahnemize güçlü bir ses getirdi.
Albümdeki şarkılardan “Rape of God” Kanadalı YouTube kanalı Banger TV izleyicileri tarafından açık ara farkla Banger TV programı “Overkill Global” için tema şarkısı olarak seçildi. Grup, 2019 yılında gitar ve vokalde Ozan Çam (Kozmik Yıkım), 2020 yılında gitar ve vokalde Ersin Çağlayan (Radical Noise) ve 2021 yılında davulda Aberrant Engin’in (Burial Invocation, Diabolizer) katılımıyla son halini aldı.
Exnun Live at ‘Milyon Fest’ Kilyos 2022
“…Somehow, that’s also cool because “Nutshell Studies Of Unexplained Death” comes across as very anti-commercial and powerful, and the production is so well done that the noise attacks hit the auditory canal forcefully and cause pain…” -Legacy Magazin
The foundations of EXNUN were laid by bassist and vocalist Can Temiz in 2018 as a project that blends many different genres of metal on the axis of hardcore punk and death metal. In 2019, their first album “Decomposition Of An Infant Soul” was released. Album drow a lot of attention in the Turkish local scene and had been critically acclaimed by the Turkish reviewers.
One of the songs from that album called “Rape of God” has choosen by the Canadian YouTube channel Banger TV viewers to be the theme song for Banger TV show “Overkill Global” by a landslide. The band took its final form with the participation of Ozan Çam (Kozmik Yıkım) on guitars and vocals in 2019, Ersin Çağlayan (Radical Noise) on guitars and vocals in 2020, and Aberrant Engin (Burial Invocation, Diabolizer) on drums in 2021.
Kritikzine Röportajı 2023
First extract from “Nutshell Studies of Unexplained Death” 2023, Time To Kill Records
The Black Label Bike Club and their friends are an independent community rebelling against the system in a society that pushes us to consume and overly use technology.
by Emily von Hoffmann, Pixel Magazine 2017
Inside the Black Label Bike Club
The longest project of Julie Glassberg’s career was spent mostly in Greenpoint, jostling in the dark for a good shot of eccentric Brooklynites jousting on bikes. Dodging swaying spectators and sloshing spirits, determined to stay in the middle of the action, she became initiated into the culture of the Black Label Bike Club. An independent community of artists, students, and self-described weirdos, BLBC’s philosophy eschews technology in favor of presence, joy, and “teenage kicks.” For Polarr, I spoke with Glassberg about the project and her upcoming book, Bike Kill.
Emily von Hoffmann: Tell us about Bike Kill. How did you learn about the Black Label Bike Club, and what made you interested in following them?
Julie Glassberg: I was living in New York City when I first heard about the Black Label Bike Club.
I was having a hard time documenting another subculture and someone told me about them: a New Yorker from Alphabet City. I thought he knew them, but he would just see them once in a while cruising on their tall-bikes, so it took a lot of time and research before I was able to start. I was first interested in the sensational part, like most people, and then, I became quickly attracted to their lifestyle and realized that there was much more to explore.
I found in them values and behaviors that I was missing in fast pace New York. I focused more on their relationships and their philosophy. The Black Label Bike Club and their friends are an independent community rebelling against the system in a society that pushes us to consume and overly use technology. They are passionate, well-read and talented young people, and I was quite absorbed by their ways of taking risks and not being afraid to be hurt (whether it was physically or in life decisions). They are living now, in the moment and want to have fun without taking life too seriously.
EvH: You mentioned this was the longest project you’ve done. What was that experience like, and did you get to know your subjects well? Does it feel strange to be done, and do you still keep in touch with anyone?
JG: The experience was quite interesting for me. In documentary photo school, you’re taught to be a “fly on the wall” and not interact much with your subject. But in this kind of community, if you want the people to share their life, you have to share a bit of yours as well to establish some kind of mutual trust. It’s an exchange. Of course, spending so much time with them, a few became close friends and we are still in touch.
While I was in Japan, I made a handmade book of Bike Kill which allowed me to show the time I spent with them and gave a new life to the project; a new narrative. It’s hard to decide when you are done when you spend so much time with people. There are always situations or characters that can evolve. For me, the book is really what concludes everything. After thorough research, I found a great editor based in Italy. It was very important for me to work with the right person so that the book is an extension of the project and keeps the core spirit. I didn’t want a standard coffee table book but more a book-object, an experience for the viewer. It will be a great collaboration and the Bike Kill book will come out around the middle or end of 2018.
Julie Glassberg ‘Bike Kill’ Series
Bike Kill in Brooklyn New York, Slaughterama in Richmond Virginia, Riding Dirty in New Orleans Louisiana are the names of a few of the many regular bike events that seem to define underground bicycle culture.
EvH: What exactly is “jousting” on a bike, and what are the stakes?
JG: Jousting on a tall-bike is exactly the same as jousting on a horse in the middle ages! Except that the spear is made of PVC and a stuffed animal or foam is at the end of it. It’s not a competition made to hurt or destroy your opponent. It’s a game. It’s all about having fun. Evidently, sometimes people get hurt as the jousters take up speed and they can fall badly or get hit in a sensitive spot.
Here is an extract from a text that Mikey (a member of the BLBC) wrote for me, that explains very well the principle of the jousting events:
“Bike Kill in Brooklyn New York, Slaughterama in Richmond Virginia, Riding Dirty in New Orleans Louisiana are the names of a few of the many regular bike events that seem to define underground bicycle culture. To the uninitiated, showing up to one of these events seems to be uninhibited intoxication and the anticipation of violence. It is. But it is also more than that. The use of public space for gatherings that scream that fun can be free.
The attendees include artist students, weirdos, musicians, spectators, teenagers, twenty somethings addicted to teenage kicks, rogue scholars, travelers, artists, photographers, parents, kids… drop-outs… a small dedicated group of outsiders — and of course bicycle clubs.)”
Julie Glassberg ‘Bike Kill’ Series
B.I.K.E. ‘Be Inclusive Kill Exclusive’ Jacob Septimus & Anthony Howard, 2005
Driven by anti-materialism and a belief that the impending apocalypse will render cars useless and leave bicycles in power, Black Label Bike Club (BLBC) battles mainstream consumer culture and rival gangs for its vision of a better tomorrow.
Pulling threads from Critical Mass and the wider bike counter-culture, B.I.K.E. explores such themes as radical politics, personal artistic vision, global responsibility, relationships, group formation and, perhaps most prominently, pain and love. Destined to be a cult classic.
Julie Glassberg ‘Bike Kill’ Series
EvH: Can you tell us about the backstory behind any particular image that sticks in your mind?
JG: I remember every moment behind every single frame pretty distinctly. One I would say that was key to that project is the photograph where everyone is shooting BB Guns in the kitchen of the Chicken Hut (headquarter) in Brooklyn [below]. That is the first photograph I took of them. I met a few members of the club the weekend before in a bar of Greenpoint. Paul informed me that it was his birthday the following week-end and that I could come. I asked him “what do you like to drink?” “Tequila!” he replied.
So I showed up at the “Hut” with a bottle of tequila for his birthday and that’s when it all started really. There, I met Stinky, who became my main contact. I would meet him regularly at the bike shop where he worked, and we’d go together meet the others. His trust towards me allowed others to give me their trust as well. He’s a friend now. Mikey (in the double exposure photograph) is also a very good friend, and Ian (portrayed with his tall bike) was one of the first members of the club I met. We often talked. He’s also a talented artist. A lot of them are.
Julie Glassberg ‘Bike Kill’ Series
The one where Pablo is fixing Mikey’s bike in his shop in Greenpoint [above], Brooklyn. Each club member made a donation of an art piece for a silent auction organized to help Pablo open his bike shop. It’s an alternative solution in a society where banks have the power.
The photograph where Andrew and Ian are dancing with Racey and Lile [below]. I went there to hang out as usual. Ian took me to the rooftop and we started climbing from roof to roof. From one roof, we saw Lile and Beatrice on Guido’s Paradise’s roof (below the Chicken Hut), shooting BB Guns, so we joined them. People started showing up randomly, and next thing I know, a party was suddenly happening and they all started dancing and having fun.
Julie Glassberg ‘Bike Kill’ Series
EvH: What were some of the technical challenges you encountered when capturing these shots? Can you share any hacks you used to overcome these challenges?
JG: There were some technical challenges mainly during the jousting events. Things are chaotic, objects and liquids are flying all over the place (including substances that are dangerous for the camera) and people are pushing and throwing things. Sometimes I’d put plastic around the camera, but I usually ended up taking it off very fast as it’s really not convenient and gets in the way. Shooting the jousting in very dark places, being pushed around is more like a sport and you have to battle to get a decent shot. You anticipate, you shoot a lot, and you get a bit of luck to make it happen! There is no taking time and composing is a challenge. Also you have to watch out constantly that nothing lands in your face or on your gear as you’re focused on the jousting. It’s mayhem, like Mikey says. But it’s exciting.
EvH: Can you tell us about anything in the world (in any medium) that is inspiring you in your work right now?
JG: Cinema has always influenced me a lot. I am a big fan of David Lynch and noir movies for example. Sometimes when I take a photo, I feel like I am in a movie scene and it really inspires me. Life to me is a huge set, except with real events happening, and I go around in it with my camera to capture what I see or feel. There isn’t one truth or one reality, so I try to share my reality with honesty.
Lately I have also done a lot of art residencies. I love to meet and collaborate with various artists such as dancers, designers, composers, choreographers, performers, etc. I explore fields that are different from mine and learn new things, explore, go further. It allows me to give a new dimension to my work.
Julie Glassberg is a New York-based photographer interested in the diversity of world cultures, subcultures, underground scenes, and the misfits of society. View her work and follow her on Instagram.
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