http://cargocollective.com www.thisiscentralstation.com Fri, 26 Apr 2013 09:12:44 +0000 http://cargocollective.com en http://cargocollective.com/Central_Station/Blipfoto-The-Anne-Madelen-Kos-Collection http://cargocollective.com/Central_Station/following/Central_Station/Blipfoto-The-Anne-Madelen-Kos-Collection Fri, 26 Apr 2013 09:12:44 +0000 www.thisiscentralstation.com 2433031 <img src="http://payload6.cargocollective.com/1/4/156206/2433031/01_about_amkos 7.jpg" width="670" height="488" width_o="900" height_o="656" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/01_about_amkos 7_o.jpg" data-mid="12259681" border="0" align="left"/>Anne Madelen Kos is an emerging artist in Ängelholm, Sweden. She began her first body of work "Self-Portraits" at 17, and continues to produce eclectic and diverse alter-egos.  Her images range from timeless themes of darkness and the occult, to melancholy images from early decades of the 20th century. She's shown her work in venues in Sweden, but also accesses an international audience through forums such as Central Station and Blipfoto.com. These spaces allow for ongoing feedback, which has helped to guide her as a source of new talent. It is a testament to her artistic development that she produces striking images, conveying a separate reality, without excessive digital modification or post-production manipulation.  Her main tools are wigs and makeup, and simple photoshop corrections - but the effect is dramatic. Anne Madelen Kos on Blipfoto: http://www.blipfoto.com/made All images © Anne Madelen Kos Anne Madelen Kos, photography and digital self-image by Tulta Behm Despite appearing very much a product of its time -  self-portraits taken on a digital camera, posted on a website which encourages uploading a photograph a day, resulting in a collection at once both instantaneous and lasting - Anne Madelen Kos' work reflects a trend in self-portraiture that has been present since the very beginning of photographic technology, with increasing relevancy in increasingly media-centric global cultures. One of the first ever photographs from a negative portrayed Daguerre's competitor in photographic innovation, Hippolyte Bayard, in a 'Self-Portrait as a Drowned Man' [1840] - betraying the lie inherent in photography since the start, that the process is capable of providing 'truth' through verisimilitude. This self-portrait, enacted in the photographer's staged 'death', hints at the paradoxical fascination within photography of representing the body, and by extension, the self, as disclosed in full by photographic process. By this process, the solidity, the very physicality of a body might be transmuted via light reflecting from skin, mass, to be ultimately - authentically - captured and rematerialised by a physical medium. In an increasingly digital, 'online' world, and with the rise of social media, we increasingly imagine we might access some authentic self via the projected, photographic self-image. In a way, with browsing, commenting, blogging and in multiple profiles on multiple sites, we need the image of the body to assure us of our continuing physical presence, lending a realness, a 'thereness' to online activity. Anne Madelen's work at once reaffirms and confounds this situation. The social networking site - such as Blipfoto or Central Station - and our indexical, digital self-portrait within these networks,  highlights a further relationship between image and body - we want both the body, and its image, to be taken as a sign for a real self; ours or another's. Without an avatar, we are suspicious of an online presence - we read impersonal images as somehow disembodying, and comments logged without a representation of the author can seem untrustworthy or generic. In contrast, the common split between physical self and represented, virtual self calls into question the Cartesian division between body and mind by paradoxically re-emphasising the logic of the selected self-image as detachable sign of the self - objectifying the subject so as to prove the depth of personal experience and the unending variety of self, or, of others, as means of reaffirming a stereotype. As Amelia Jones, author of Self/Image: Technology, Representation and the Contemporary Subject, puts it, "we don't know how to exist anymore without imagining ourselves as a picture". Anne Madelen Kos' work questions our recognition of the nature of imaging, and our capability through photography to reduce others to a single immutable, often stereotypical image, but it also highlights the potentially damaging preoccupation with picturing ourselves from the outside, as object rather than creative subject. Digital photography renders the self as an external, digital other, a data file, in essence eternally mutable. Inevitably, though, we can only see what our own technologically-mediated selves position us to see. Online, we are neither other nor self, we are prejudiced in our position within the very social networks which we seek to explore. We are conditioned to see the photographic self-image in the same complex, paradoxical way we imagine ourselves represented, and it is this compromised position - within and looking into a world of digital self-representation, and multiple digital selves, that Kos' work leads us to acknowledge. Self-portraiture posits the notion of a singular creator and singular subject, providing both the origin of the work and its significance, in a way which suggests the inaccuracy of authorship. In the visual cultural theory of the twentieth and twenty-first century, this conflation of signified and signifier in a sign which also stands for its author has spun a common thread through various cultural practices and approaches to arts criticism, most significantly in the identification, made as early as 1929 by Joan Riviere in her article 'Womanliness as Masquerade', that femininity, and by extension, 'identity' can be adopted as a cultural strategy. The evident multiplicity of the self-portrait peels away the notion of a subject as 'something knowable or meaningful behind each image', like another of so many masks. In Anne Madelen Kos' work we see at least three of these masks laid bare: the mask of the desirous object, the fetishised subject of the photograph; the disguised self; and the death mask. Her reiterated, shattered self-image points to the necessary construction and deconstruction of the self in the digital age, but also the ubiquity of desire in contemporary media culture, which makes clear how much the body is attached to the image of itself by the power of desire. The identity of her self in self-portraiture is both offered by the photograph, and denied, by the disguise, promising meaning but never delivering, instead reflecting the unknowable nature of self and other in the age of digital networking. Her photographic images of death, death-like scenarios, or images of an afterlife or undead existence, operate somewhere in between these two fluctuating points of desire and disguise, representing, as Roland Barthes puts it in Camera Lucida, "that very subtle moment when … [she] is neither subject nor object but a subject who feels [she] is becoming an object", experiencing "a micro-version of death". His summation of the photographic experience resonates today in Kos' work - "I am truly becoming a spectre". In losing herself through the act of photographing herself, Anne Madelen's photographs pinpoint the moment at which the self-portrait becomes that of the 'drowned man' - death encroaches upon photography through its ability to congeal and fetishise time, and it is this fascination with the limits of self, of experience, disguise, desire and otherness, which holds sway over both Anne Madelen - it would seem, in her daily ritual of self-negation and reaffirmation through self-imaging - and us as the viewer of this act, complicit in the negotiation of identity, both hers, and in reflection, our own. Tulta Behm was Collections Producer on Central Station. Appendix: Frieze review by Amelia Jones of Lynn Hershman Leeson's work with self-image and Second Life //////////////////////////////////////////////////////////////////////////////////// <img src="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 15.jpg" width="670" height="999" width_o="900" height_o="1342" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 15_o.jpg" data-mid="12261067" border="0" align="left"/>An Introduction to the themes in Anne Madelen Kos' work by Ria Krause The work of Anne Madelen Kos emerges from a well established tradition of the self portrait within photography which has provided fertile ground for reflexive and critical engagements with the form. The self portrait has provided a means by which photographers have engaged with a broader critical, theoretical current preoccupied with questions of identity, subjectivity and performativity that has been pervasive within the arts, humanities and philosophy since the 1980s. These images necessarily bring to mind the work of artists like Cindy Sherman, Jo Spence and Orlan. And so, I find myself intrigued most immediately with the questions: Why make this work now? What does it mean to take on these themes, and to produce this work in a contemporary setting? How might we understand these images in a digital age? The vexed question of intentionality arises here: What is the artist's impulse in making these pictures?  What does she ask of the viewer; to uncover meaning and interpret voice, or to infuse the work with meaning through his/her subjective interpretation? How, as viewers, might we respond to these questions? In the apparently similar work of Sherman, Orlan, or Spence, we are provided with the certainty of a solid framework, an underpinning or even an explicit meta-narrative that can be read in variously understood cultural, social and political terms. Kos' work does not provide us with this security. Its intentionality is very deliberately fraught with ambiguities that speak to a particularly contemporary concern with the tension between (re)presentation, surface and content, and ultimately to the final equivocation, perhaps, of definitive meaning itself. It is perhaps in this very tension that her work is most contemporary and relevant. There are possible narratives to be implied and constructed here. The vampire (1) [October 13 2009] and the angel (2) [December 02 2009] are archetypes which come loaded with cultural meaning and significances that flatter to lead us beyond the frame, providing comforting and familiar frameworks on which to hang our meaning. Yet, to what end are we ultimately presented with these fragments? Neither do we have the assistance of immediate context with which to anchor these images. Whereas Cindy Sherman often constructs an entire fictional world with which to surround herself in her images, or where Orlan remakes her very self in relation to the world that surrounds her, here we have the consistently -and intentionally- blank white space of the studio. A further layer of artifice that draws attention to nothing as much as its own construction. The intention, and meaning, of these portraits remains free-floating, unanchored by place or time. So that, whilst these portraits notionally play with iconic historical archetypes such as the 1970s' roller girl (3) [October 15 2009] or the 1910s' aesthete (4) [September 21 2009], clearly they do so from a deliberately contemporary viewpoint. Where we might see angels, vampires and sophisticates, might we not also equally see resonances with Lady Gaga or Kill Bill? This notional multiplicity and fluidity of self is arguably axiomatic of contemporary digital media. One need only look to Flickr and Facebook to see the potential of online platforms to provide innovative spaces in which to 'perform the self'. It seems, entirely appropriate then, that Kos should present her work via the diaristic, photoblog format of Blipfoto. Here we are presented with versions of a self/portrait made and re-made, rehearsed and performed endlessly; a new self every day. This is to say nothing of the multiplicity of viewing contexts and -by extension- of readings that this means of presentation necessarily opens up. In viewing these images, given their very immediate lineage, I feel myself compelled to return once again to the question, why make this work now?  Is this work, in fact, more relevant now than ever? Ria Krause is a short film-maker & photographer. You can view her first short film, Undertow, here. //////////////////////////////////////////////////////////////////////////////////// September 25 2007<img src="http://payload6.cargocollective.com/1/4/156206/2433031/September 25 2007.jpg" width="670" height="573" width_o="900" height_o="771" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/September 25 2007_o.jpg" data-mid="12261184" border="0" align="left"/> The first photograph by Anne Madelen to explore self-image. "I started doing the self portraits since I had long had an urge to dress up and experiment with makeup, clothes, hair and so on. It started with this picture. It was taken on the 25th of September 2007. That was the first time I played around with makeup and props, ever." The use of a muted colour palette and a dark tonal quality suggests a hybrid between millennial heroin chic and 1920s' German Expressionism. Ria Krause [RK] //////////////////////////////////////////////////////////////////////////////////// October 14 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/October 14 2009.jpg" width="670" height="821" width_o="900" height_o="1104" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/October 14 2009_o.jpg" data-mid="12259811" border="0" align="left"/> "Death is the most fun to do. But occasionally people become upset. Posting my work on an open site like Blipfoto, next to people's everyday images of their lives, puts it in a space where people don't always expect it. In exhibits, people tend to be more open and criticism is less about content than technical aspects of the images. It is good to have both". This image has a raw quality that challenges and unsettles the viewer, even as it plays with classic horror tropes. RK //////////////////////////////////////////////////////////////////////////////////// October 13 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/October 13 2009.jpg" width="670" height="999" width_o="861" height_o="1284" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/October 13 2009_o.jpg" data-mid="12261259" border="0" align="left"/> Preparatory photograph for the one uploaded to Blipfoto on October 13 2009. An intriguing juxtaposition of two classic images of feminine seduction. RK //////////////////////////////////////////////////////////////////////////////////// August 22 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/August 22 2009.jpg" width="670" height="511" width_o="900" height_o="687" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/August 22 2009_o.jpg" data-mid="12261304" border="0" align="left"/> Third in the series 'Female Gang-Leaders' by Anne Madelen Kos, a project on show in full at Blipfoto. "Started my series called "Kvinnliga Gängledare" (Female Gang leaders). Here is the third of them pre- and post-editing. The sores are made from theatrical makeup, such as skin paste, fake blood, regular children's face paint and ordinary makeup. The hair is a wig and the knife an ordinary kitchen knife. With the picture taken I used my computer to increase the light and reduce the colours". How might the viewer respond politically to this disturbing image? The use of the diptych format here also serves to highlight to the viewer the dramatic shift in impact that is wrought by the subtlest of digital alterations. RK //////////////////////////////////////////////////////////////////////////////////// December 02 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/December 02 2009.jpg" width="667" height="995" width_o="667" height_o="995" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/December 02 2009_o.jpg" data-mid="12261407" border="0" align="left"/> "This picture just happened to come out good. I was thinking of just making everything as white as possible. Most of the time I don't even see them until they're in the computer. I normally take around 20 pics after one makeup session, sometimes I'm not even sure if the pictures are any good. "The makeup takes between 15-40 minutes depending on how advanced it is, that includes the hair and clothes, then the photos take about 10-20 minutes and the editing about the same. So from start to finish it takes about an hour. "The angel pictures I made as bright as possible. I've never used the picture to the right, and as usual with pictures I haven't used, this is the first time anyone else see them. I had to play around a little with the eye colour in photoshop, to get a more piercing, angel-like gaze. Unsettling yet warm". With its beautiful use of light, this image transports us from the visceral impact of the previous image [August 22 2009] into the realm of the ethereal. The second set presents a diptych which leads one to compare its two halves. A subtle shift in posture and gaze introduce a tension and threat to the second image which unsettles as it intrigues. RK Preparatory study<img src="http://payload6.cargocollective.com/1/4/156206/2433031/amkos 6.jpg" width="670" height="489" width_o="900" height_o="658" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/amkos 6_o.jpg" data-mid="12261465" border="0" align="left"/> //////////////////////////////////////////////////////////////////////////////////// December 26 and 24 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/01_December 26 and 24 2009.jpg" width="670" height="488" width_o="900" height_o="656" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/01_December 26 and 24 2009_o.jpg" data-mid="12261541" border="0" align="left"/> "The pictures are starting to look more 'fashion'. But that's good, if I should loose one eye I can always take fashion pictures with the other one. What I like about the picture on the right is that it's like two different faces in one. Look at each half separately. Following are two different pictures from the same photo session. The hair is a combination of a wig and my own hair. The one on the left was the trickiest to do since I had to stand very still to keep the curls, and I still had to fix 'em up a little in photoshop. The makeup is ordinary black face-paint mixed with dark eyeshadow. The lighting is natural sunlight, and the dark "frame" around the right one is something I did on the computer". Two sets of images which draw attention to the centre piece of any portrait: the eyes. They display an intriguing deployment of colour, or perhaps more accurately, the lack of it. Colour images rendered in real-life monochrome, whilst the diptych format invites use to interrogate the subtlest of variations. RK <img src="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 8.jpg" width="670" height="504" width_o="900" height_o="678" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 8_o.jpg" data-mid="12261561" border="0" align="left"/> //////////////////////////////////////////////////////////////////////////////////// December 22 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/01_December 22 2009.jpg" width="670" height="1000" width_o="900" height_o="1344" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/01_December 22 2009_o.jpg" data-mid="12261688" border="0" align="left"/> This image and the following triptych invite us to question how the artist plays with different iterations of identity, in relation to current digital media; a theme further explored in the Introduction and essay included in this collection (found above). RK <img src="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 10.jpg" width="670" height="328" width_o="900" height_o="441" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 10_o.jpg" data-mid="12261644" border="0" align="left"/>"The one on the left is the one I've used, the other two I've never used." //////////////////////////////////////////////////////////////////////////////////// September 21 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/September 21 2009.jpg" width="670" height="952" width_o="900" height_o="1279" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/September 21 2009_o.jpg" data-mid="12261794" border="0" align="left"/> A photograph redolent of a bygone age. "I also enjoy periodic/stylistic pieces from history". This image is richly evocative of the luxuriant bohemia of an earlier age. The use of colour, as well as the slight degradation to the surface of the image, also serves to lend it a classical, aged feel. RK //////////////////////////////////////////////////////////////////////////////////// October 15 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/October 15 2009.jpg" width="670" height="552" width_o="900" height_o="742" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/October 15 2009_o.jpg" data-mid="12261839" border="0" align="left"/> "I was just thinking of disco and roller skates. I don't usually think that much when taking pictures, except for the first idea". A classic pop cultural reference, the 1970s' Rollergirl. RK //////////////////////////////////////////////////////////////////////////////////// January 06 2010<img src="http://payload6.cargocollective.com/1/4/156206/2433031/January 06 2010.jpg" width="670" height="432" width_o="900" height_o="581" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/January 06 2010_o.jpg" data-mid="12261876" border="0" align="left"/> "It's very rare that I make the picture all black/white. Most of the time I leave at least a hint of colour, since it's a shame to kill the colours. "The hair is a short, curly wig along with my own hair, with the help of some hair clips. The only makeup in the picture is some eyeshadow I used to enhance the eyebrows. The picture on the left is one I haven't used, it's a little more "crisp". The one on the right I made a little blurry so that it would look more like an old photo, from ages past." Amidst this artifice, an image which plays with a notional naturalism. The soft light and almost charcoal black and white tones accentuate this quality. RK //////////////////////////////////////////////////////////////////////////////////// November 27 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/November 27 2009.jpg" width="670" height="999" width_o="900" height_o="1342" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/November 27 2009_o.jpg" data-mid="12261921" border="0" align="left"/> An inscrutable blonde, a la Hitchcock, points once again to the mystery of identity in digital self-representation, where one figure can take on multiple guises, suggesting both Kim Novak and Cindy Sherman. Here the artist assumes another intriguing guise, one perhaps redolent of a Hitchcock heroine. The more accentuated use of flash lighting here further enhances its cinematic quality. RK //////////////////////////////////////////////////////////////////////////////////// September 27 2009<img src="http://payload6.cargocollective.com/1/4/156206/2433031/September 27 2009.jpg" width="670" height="499" width_o="900" height_o="671" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/September 27 2009_o.jpg" data-mid="12261989" border="0" align="left"/> A portrait of the artist's sister, which Kos enigmatically describes as "about as much fun as making death". Preparatory image for the photograph uploaded to Blipfoto on September 27 2009. "I do occasionally work with models; usually family and friends. Working with other models is fun, and easier to in the sense that it's easier to do the makeup and I get to take the picture myself instead of using the timer on the camera, but still, it's more challenging since it's somebody else's face I'm working with. It's about as much fun as making death. I borrow my sister for the pictures sometimes. Here's two of the pictures of my sister Ronja. As you can see the colours differ a little since I applied different layers." A teasing image which plays with authority and youthful impertinence. RK //////////////////////////////////////////////////////////////////////////////////// Anne Madelen Kos - her studio, herself<img src="http://payload6.cargocollective.com/1/4/156206/2433031/01_Anne Madelen Kos - her studio- herself1.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/01_Anne Madelen Kos - her studio- herself1_o.jpg" data-mid="12262048" border="0" align="left"/> An insight into Anne Madelen's artistic life, with a photograph of her studio and recent exhibition. "Exhibits do a lot for me, since the people that come there talk to me about the pictures, it makes me see them from other perspectives. I always get a lot of positive feedback to, and I feel like I'm doing something good, that I'm actually good at what I do. It's fun to talk to the people there, it's most fun to just sit among some others and see if the people that come to look at the pictures can guess who I am. I have one exhibit on now which opened in the beginning of February, and then one sometime this summer. Looking forward to that". Anne Madelen's studio on Blipfoto. <img src="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 17.jpg" width="670" height="488" width_o="900" height_o="656" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/02_amkos 17_o.jpg" data-mid="12262114" border="0" align="left"/><img src="http://payload6.cargocollective.com/1/4/156206/2433031/03_amkos 18.jpg" width="670" height="448" width_o="900" height_o="603" src_o="http://payload6.cargocollective.com/1/4/156206/2433031/03_amkos 18_o.jpg" data-mid="12262123" border="0" align="left"/> Anne Madelen Kos is an emerging artist in Ängelholm, Sweden. She began her first body of work "Self-Portraits" at 17, and continues to produce eclectic and diverse... http://cargocollective.com/Central_Station/Art-Roc-Doc http://cargocollective.com/Central_Station/following/Central_Station/Art-Roc-Doc Wed, 19 Oct 2011 07:31:20 +0000 www.thisiscentralstation.com 2166538 72 Hours/ 4 Art-Rockers/ 4 Central Station members/ 1 Knackered Old Transit van/ Too many parties to mention These were the ingredients for Art/Roc/Doc, a fly on the wall documentary that followed Glasgow band Isosceles on an adrenaline-fuelled road trip to uncover the London art scene during Frieze Art Fair 2009. Along the way Isosceles headlined PLUS - 72 hours of non-stop artists, exhibits and music, featuring Douglas Gordon, Matt Collishow, Sarah Lucas, Gavin Turk and Sam Hasler. Members Tom Duncan and Dasha jumped on board to film and photograph the event, designer Ruth Parker was set with the task of creating a cardboard caravan and together they created a whirlwind short film which premiered at The Glasgow Film Festival 2010. Here are some images taken from the 3 days by Dagmar Vyhnalkova (aka Dasha). To find out more about the project, read this. ////// {Day 1 - van}{Day 1 - dog}{Day 1 - hat}{Day 1 - interview}{Day 2 - street}{Day 2 - group}{Day 2 - wall}{Day 2 - shot of wall}{Day 2 - cafe1}{Day 2 - cafe2}{Day 2 - cafe outside}{Day 2 - roof}{Day 2 - roof2}<img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_32.jpg" width="670" height="460" width_o="958" height_o="658" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_32_o.jpg" data-mid="10821236" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_35.jpg" width="604" height="465" width_o="604" height_o="465" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_35_o.jpg" data-mid="10821297" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_42.jpg" width="670" height="433" width_o="2048" height_o="1323" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_42_o.jpg" data-mid="10821749" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_49.jpg" width="670" height="432" width_o="2048" height_o="1322" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_49_o.jpg" data-mid="10821876" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_54.jpg" width="670" height="434" width_o="2048" height_o="1327" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day2_54_o.jpg" data-mid="10822141" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/rijen2009_079.jpg" width="670" height="516" width_o="697" height_o="537" src_o="http://payload.cargocollective.com/1/4/156206/2166538/rijen2009_079_o.jpg" data-mid="10822216" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_03.jpg" width="670" height="425" width_o="1600" height_o="1016" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_03_o.jpg" data-mid="10822594" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_05.jpg" width="670" height="434" width_o="1600" height_o="1038" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_05_o.jpg" data-mid="10822678" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_09.jpg" width="670" height="516" width_o="697" height_o="537" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_09_o.jpg" data-mid="10822720" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_22.jpg" width="670" height="435" width_o="1600" height_o="1040" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_22_o.jpg" data-mid="10822862" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_06.jpg" width="670" height="433" width_o="1600" height_o="1036" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_06_o.jpg" data-mid="10822962" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_26.jpg" width="670" height="456" width_o="2048" height_o="1396" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_26_o.jpg" data-mid="10823160" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_28.jpg" width="670" height="447" width_o="2048" height_o="1368" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_28_o.jpg" data-mid="10824337" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_30.jpg" width="670" height="433" width_o="1676" height_o="1084" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_30_o.jpg" data-mid="10824435" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_01.jpg" width="670" height="436" width_o="1664" height_o="1084" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_01_o.jpg" data-mid="10824510" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_03.jpg" width="670" height="490" width_o="1475" height_o="1080" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_03_o.jpg" data-mid="10824581" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_07.jpg" width="670" height="434" width_o="1667" height_o="1080" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_07_o.jpg" data-mid="10824666" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_14.jpg" width="670" height="516" width_o="697" height_o="537" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_14_o.jpg" data-mid="10824764" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_21.jpg" width="670" height="1032" width_o="2048" height_o="3155" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_21_o.jpg" data-mid="10824910" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_20.jpg" width="670" height="434" width_o="1672" height_o="1084" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_20_o.jpg" data-mid="10825026" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_28.jpg" width="670" height="434" width_o="2048" height_o="1327" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_28_o.jpg" data-mid="10825389" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_31.jpg" width="670" height="433" width_o="2048" height_o="1324" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_31_o.jpg" data-mid="10825517" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_37.jpg" width="670" height="435" width_o="2048" height_o="1332" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_37_o.jpg" data-mid="10825708" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_47.jpg" width="670" height="432" width_o="2048" height_o="1321" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_47_o.jpg" data-mid="10847472" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_55.jpg" width="670" height="432" width_o="1667" height_o="1076" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_55_o.jpg" data-mid="10847616" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_50.jpg" width="670" height="435" width_o="2048" height_o="1331" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day3_volume_50_o.jpg" data-mid="10847884" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2166538/ard_day4_06.jpg" width="670" height="436" width_o="2048" height_o="1333" src_o="http://payload.cargocollective.com/1/4/156206/2166538/ard_day4_06_o.jpg" data-mid="10848429" border="0" align="left"/> 72 Hours/ 4 Art-Rockers/ 4 Central Station members/ 1 Knackered Old Transit van/ Too many parties to mention These were the ingredients for Art/Roc/Doc, a fly on... http://cargocollective.com/Central_Station/Pismo-a-Jeho-Konstrukce-1950s-Czech-Typography http://cargocollective.com/Central_Station/following/Central_Station/Pismo-a-Jeho-Konstrukce-1950s-Czech-Typography Mon, 10 Oct 2011 08:28:42 +0000 www.thisiscentralstation.com 2096979 <img src="http://payload.cargocollective.com/1/4/156206/2096979/1.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/1_o.jpeg" data-mid="10602819" border="0" align="left"/> This collection focuses on a rare typography manual I found in an old bookshop in Prague in 1999*. 'PISMO' is an A3 sized folio containing a manuscript on the 'history of writing' and over 50 exceptionally beautiful, original loose leaves of individually drawn alphabets, some with diagramatic notation that demonstrate their construction. It has been my intention for some time to make 'PISMO' the basis of a research project* which attempts to understand the historical context in which it was produced and also reappraises and recuts the typography via traditional (letterpress) and contemporary (digital) methods. However, rather than have this sit in a drawer any longer, I wanted to open out the discussion about this work and hopefully source more of an insight from the online community. I don't view 'PISMO' as an exclusive or static artifact, but as something with huge amounts of potential to be explored and expanded upon. PISMO is not necessarily the most 'avant-garde' or adventurous of works, but that's partly why I am interested in it - my gut feeling is that 'PISMO' is a product of its time, documenting a particularly politically complex moment of ideological constraint in post-war Czechoslovakia. What takes place in political spheres may have its corollary, opposite and equal reaction in the personal and creative, and to a modern reader, Pipal's work in 'PISMO' suggests just this: typographical responses to an authoritarian regime which directly influenced the structure and emotion of written language, and which continue to speak to us today. When we think of Soviet design under Communism, we tend to think of Constructivism - Rodchencko, Lissitsky and the principle of 'faktura' - Russian for the particular materiality of an object and its spatial presence - an aesthetic philosophy intrinsically tied to Communist politics. <img src="http://payload.cargocollective.com/1/4/156206/2096979/4_4.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/4_4_o.jpeg" data-mid="10602856" border="0" align="left"/> In 'PISMO', most of the typefaces are grotesque, very solid and geometric, and appear to owe a lot to Constructivist principles. They are satisfyingly slabby, brutal and black, but importantly they are still elegantly weighted and fundamentally work as complete typefaces. Alongside the Czech Latin alphabets are a number of Romanised Cyrillic faces. There are also interesting scripts, which although retaining a geometric basis seem to break away from the other stoic forms, some with great flourishes, others looking like a bastard-child hybrid of classic 1940s' American sign-writing and Constructivist propaganda. A few of these faces recently turned up in an excellent book about Eastern Bloc typefaces called 'A2Z' by Redstone Press. There's some great work in there, including Czech Modernist Karel Teige's often-imitated classic 'Abecada' (1926) which features choreographed gymnasts in typographic shapes. Thinking about the legacy of not only Czech design, but photography and film of that era (eg Magick Lantern), and the latent influences of Constructivism and even Bauhaus in PISMO, I'd also be interested in suggested routes for further exploration/collaboration, perhaps working with visual artists, writers or film-makers. //////////////////////////////////////////////////////////////////////////////////////////////// *The find was made whilst on a field trip as a student with the Glasgow School of Art's Visual Communication Dept., led by Steve Rigley. Credit should also go to my friend and fellow ex-student Franca Fosco, who helped me buy the book, with a smattering of Czech translation. The research project will be continued with Steve Rigley and Edwin Pickstone //////////////////////////////////////////////////////////////////////////////////////////// Book details: Písmo a Jeho Konstrukce (transl. 'Writing and Its Construction'), by Richard Pipal, 1956 Publisher: Statni Nakladatelstvi technickэ literatury, Praha (State Publishing House for Technical Literature) Prague //////////////////////////////////////////////////////////////////////////////////////////// <img src="http://payload.cargocollective.com/1/4/156206/2096979/2.jpeg" width="480" height="319" width_o="480" height_o="319" src_o="http://payload.cargocollective.com/1/4/156206/2096979/2_o.jpeg" data-mid="10602830" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/3.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/3_o.jpeg" data-mid="10602831" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/4.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/4_o.jpeg" data-mid="10602834" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/5.jpeg" width="480" height="321" width_o="480" height_o="321" src_o="http://payload.cargocollective.com/1/4/156206/2096979/5_o.jpeg" data-mid="10602836" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/1_1.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/1_1_o.jpeg" data-mid="10602843" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/2_2.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/2_2_o.jpeg" data-mid="10602848" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/3_3.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/3_3_o.jpeg" data-mid="10602851" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/5_5.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/5_5_o.jpeg" data-mid="10602857" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/6.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/6_o.jpeg" data-mid="10602859" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/7.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/7_o.jpeg" data-mid="10602863" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/8.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/8_o.jpeg" data-mid="10602869" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/1_6.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/1_6_o.jpeg" data-mid="10602927" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/2_7.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/2_7_o.jpeg" data-mid="10602929" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/3_8.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/3_8_o.jpeg" data-mid="10602933" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/4_9.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/4_9_o.jpeg" data-mid="10602937" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/5_10.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/5_10_o.jpeg" data-mid="10602941" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2096979/6_11.jpeg" width="480" height="320" width_o="480" height_o="320" src_o="http://payload.cargocollective.com/1/4/156206/2096979/6_11_o.jpeg" data-mid="10602944" border="0" align="left"/> This collection focuses on a rare typography manual I found in an old bookshop in Prague in 1999*. 'PISMO' is an A3 sized folio containing a manuscript on the... http://cargocollective.com/Central_Station/Social-Landscape http://cargocollective.com/Central_Station/following/Central_Station/Social-Landscape Wed, 05 Oct 2011 09:46:35 +0000 www.thisiscentralstation.com 2103686 Fullscreen In Rennes, artist David Zérah had a concept – to interview five contemporary artists in their cars, asking them questions from a French art magazine Galerie Magazine (1989/90). David started working on his 'Artists's in their cars' project as part of the Social Landscape programme for GI 2010 (see below for more details). He produced a short film/series of stills within the arts community of Rennes. Then he had another idea – why not take the same format to Scotland’s art world at the same time and show the documented outcome together. A call went out on Central Station where artist and filmmaker Holger Mohaupt was selected. During GI 2010, David and Holger produced the work as an on-line residency on Central Station. This project contains the work produced from both artists during this residency. Here’s more information about Social Landscape: Commissioned for the project Social Landscape curated by Patricia Fleming for La Criée centre d'art contemporain in Rennes, it was part of a series of artists’ residencies and events in France and Scotland curated specifically for the context of GI 2010 and the Rennes Biennale. And here’s more information about the event itself: Screenings took place in Glasgow at Stereo in April 2010 as part of Social Landscape for GI 2010 and in Rennes during La Biennale du Rennes May 2010. For GI 2010, Social Landscape appeared as a one-off event, which included a performance by Muscles of Joy, new animation by Katy Dove created during her residency in Rennes, new work by Sophie Macpherson and performances by sonic artist Damien Marchal created during a three-month residency in Glasgow. Images from the event can be seen here. <img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork_o.jpg" data-mid="10483338" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork1.jpg" width="670" height="446" width_o="1350" height_o="900" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork1_o.jpg" data-mid="10483345" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork3.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork3_o.jpg" data-mid="10483349" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork4.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork4_o.jpg" data-mid="10483355" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork5.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork5_o.jpg" data-mid="10483361" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork6.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork6_o.jpg" data-mid="10483367" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork7.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork7_o.jpg" data-mid="10483386" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork8.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork8_o.jpg" data-mid="10483426" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork9.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork9_o.jpg" data-mid="10483434" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork10.jpg" width="670" height="446" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork10_o.jpg" data-mid="10483455" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork11.jpg" width="670" height="447" width_o="800" height_o="534" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork11_o.jpg" data-mid="10483461" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork12.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork12_o.jpg" data-mid="10483473" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork13.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork13_o.jpg" data-mid="10483491" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork14.jpg" width="670" height="446" width_o="900" height_o="600" src_o="http://payload.cargocollective.com/1/4/156206/2103686/artisttalksaboutwork14_o.jpg" data-mid="10483499" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/alan.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/alan_o.jpg" data-mid="10483291" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/alasdair.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/alasdair_o.jpg" data-mid="10483302" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/anne.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/anne_o.jpg" data-mid="10483329" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/debbs.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/debbs_o.jpg" data-mid="10483528" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/fred.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/fred_o.jpg" data-mid="10483535" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/gail.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/gail_o.jpg" data-mid="10483540" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/hammy.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/hammy_o.jpg" data-mid="10483543" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/janey.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/janey_o.jpg" data-mid="10483545" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/Jean.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/Jean_o.jpg" data-mid="10483551" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/karen.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/karen_o.jpg" data-mid="10483556" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/lesley.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/lesley_o.jpg" data-mid="10483565" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/leslie.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/leslie_o.jpg" data-mid="10483572" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/mary.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/mary_o.jpg" data-mid="10483582" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/olivia.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/olivia_o.jpg" data-mid="10483587" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/peter.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/peter_o.jpg" data-mid="10483593" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/peterpostman.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/peterpostman_o.jpg" data-mid="10483620" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/robin.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/robin_o.jpg" data-mid="10483626" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/steve.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/steve_o.jpg" data-mid="10483638" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/156206/2103686/caireen.jpg" width="670" height="989" width_o="677" height_o="1000" src_o="http://payload.cargocollective.com/1/4/156206/2103686/caireen_o.jpg" data-mid="10483501" border="0" align="left"/> In Rennes, artist David Zérah had a concept – to interview five contemporary artists in their cars, asking them questions from a French art magazine Galerie...