It feels as if this historical moment is forcing us to close in on ourselves and withdraw. The anxiety and the constant concern about the future make it hard for everybody to have that openness of mind to be artistic, or even just to properly wander with the imagination. But the history of art teaches us something that right now is supremely important: you don’t necessarily need to start from scratch to create something new.
As a publication, for us it’s of primary importance to produce exclusive contents for every chapter and the quarantine invited us to be imaginative and to find new spaces for creativity. That’s why we asked three artists to work on the pictures of three photographers, manipulating a few of their already-existing images into something original.
Pavel Golik’s Eastern roots wrap around his fashion imagery, pervading it with candor and post-Soviet vibes. Slender limbs, the beauty of expressions, the grey of cement, the absence of artificial posing: a handful of elements that contributes to build a photography without frills but nonetheless complex and elaborated, as true and daring as it comes.
Miriam Tölke is a German artist based in Berlin. Her mean of expression is mostly what she defines analog collage (she scans and cuts every image by hand): for this reason, her work results as nostalgic and meditative, but also somehow surrealistic, as the feminine bodies interlace and confuse in abstract, mesmerizing shapes.
On this intense series of pictures by Pavel Golik, Miriam intervened with oneiric hands and purposeful cuts, creating a sort of Rorschach test of the female gaze in tenuous tones. The outcome is enigmatic, almost hypnotic, as we follow the multidirectional glance of the portrayed women that remains endlessly suspended on the page.