We are very excited to announce that Casting Call Asia is now fully online
Check our new website www.castingcallasia.com
You can register for free and benefit from the new launch of the platform.
This tool will allow you to build the profile you like, improve your visibility on the net, and have access to more castings.
Casting Call Asia – CCA has been built by professionals who are active in the media, photography, movie, modeling and entertainment industry.
The ultimate target is to facilitate the communication & cooperation among professionals working in the same industry.
It is very easy to register:
- Go on www.castingcallasia.com
- Then, go on the register box
- Fill in your user information and choose the profile that corresponds best to your characteristics
- When the registration is completed, you can start posting pictures and movies that describe best your profile.
- Have fun and start exchanging with other people involved in the same industry!
John Stanmeyer, a VII Photo member and National Geographic contributor, has won World Press Photo of the Year for an image of African migrants on the shore of Djibouti, “raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia”
World Press Photo of the Year 2013: 26 February 2013, Djibouti City, Djibouti African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighboring Somalia—a tenuous link to relatives abroad. Djibouti is a common stop-off point for migrants in transit from such countries as Somalia, Ethiopia and Eritrea, seeking a better life in Europe and the Middle East © John Stanmeyer, USA, VII for National Geographic
“It’s a photo that is connected to so many other stories – it opens up discussions about technology, globalisation, migration, poverty, desperation, alienation, humanity,” says Jillian Edelstein, jury member of this year’s World Press Photo. ”It’s a very sophisticated, powerfully nuanced image. It is so subtly done, so poetic, yet instilled with meaning, conveying issues of great gravity and concern in the world today.”
US photographer John Stanmeyer of VII Photo was on assignment with National Geographic when he shot this image of “African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia – a tenuous link to relatives abroad,” reads the caption. “Djibouti is a common stop-off for migrants in transit from countries such as Somalia, Ethiopia and Eritrea seeking a better life in Europe and the Middle East.” The picture also won 1st Prize in the Contemporary Issues category.
Speaking to BJP, Stanmeyer says: “It’s an honour and privilege to win. I hope it communicated the reality that we could be any one of those people on the beach, trying to talk to our families back home.”
The image was shot during the first part of a multi-year project for National Geographic on human migration in northern Africa. “I spent a month driving and walking through Ethiopia and ended up in Djibouti, and I remember talking with my writer Paul Salopek on the beach at the Red Sea where, ironically, 60,000 years ago there was a land bridge that allowed us to continue our path – to connect. Today, we have other means of connecting, using, for example, mobile phone signals. I was in Djibouti city, walking along the beach looking for things to photograph, and I remember coming across that spot and seeing all of these people here; I asked my translator what they were doing. They were engaged in what is called ‘catching’. They were trying to get a signal to talk to their loved ones at home. How can modern-day migration be more illustrated than this?”
Stanmeyer photographed at night in a bid to protect his subjects’ identity and privacy. “People are very skittish, they don’t want to be seen. Understandably. And I love photographing at night – it was a full moon that night.”
Stanmeyer didn’t expect to win the World Press Photo of the Year, which, he says, should also go to the entire team who worked with him on the story: “The writer, the photo editor I’ve worked with, the magazine that supports reportage storytelling. And it’s also for the people in the image. I’m glad that I’m able to communicate something that is universal to us all. I have been that man or that woman in that frame countless times as I tried to reach my family back home. I’m thankful and honoured that something poetic, that I hope screams loudly, is shared this way now.”
David Guttenfelder, a photographer with Associated Press and also a jury member, says: “The photo is like a message in a bottle, it is one that will last. People will bring their own life experiences to it as they stand in front of it.”
“What we’re looking for in the winning image is the same quality you would look for in a great film or in literature – the impression that it exists on more than one level, that it makes you think about things you haven’t thought about,” adds jury member Susan Linfield. “You begin to explore the layers, not only of what’s there but of what isn’t there. So many pictures of migrants show them as bedraggled and pathetic; this photo is not so much romantic as it is dignified.”
Sarah Leen, National Geographic’s director of photography, welcomes the win. “John Stanmeyer’s winning image was the lead photograph in National Geographic magazine’s December 2013 story ‘Out of Eden’. It is an image of beauty and magic and wonderfully mysterious,” she tells BJP. “It worked marvellously within our story but it also stands as an icon for the digital era we are living in. Today we seek connection and community with texts, tweets, images and emails. This photograph beautifully, and poignantly, speaks to that desire for connection thru a particular community of people separated from their families and loved one. It is a wonderful choice.”
Stanmeyer’s image was selected from among 98,671 images submitted by 5754 photographers from 132 countries. The jury was chaired by Gary Knight, also of VII Photo. He talks about the process: “Whenever anything comes on the screen, you are obliged to state to the jury that you have a potential conflict of interest. Every single time, you have to do the same thing. You repeat it over and over again. That was absolutely the case for me, and it was the case with many of the other jurors with photographs entered in this competition.”
He adds: “Also, David Campbell, the secretary, has written down all of our associations, and if he notices that there is a pattern in our advocacy or our voting that is consistent with the professional relationship we may have, we get called out on it.”
Other winners include: French photographer Philippe Lopez, who took first place in the Spot News (singles) category for his image of typhoon survivors in the Philippines; Goran Tomasevic from Serbia, who won first prize in the Spot News (stories) category for his image of rebels attacking a government checkpoint in Damascus, Syria; and Alessandro Penso from Italy, who won the General News (singles) category for his image of Syrian refugees. US photographer Sara Naomi Lewkowicz took first place in the Contemporary Issues (stories) category for her portrait of domestic violence; Markus Schreiber from Germany won first prize for his image Farewell Mandela, Pretoria, South Africa; and Julius Schrank, also from Germany, took first prize in the Daily Life (singles) category for his image of Kachin fighters in Burma.
Last year, Swedish photographer Paul Hansen won the World Press Photo of the Year title for a picture of a group of men carrying the bodies of two dead children through a street in Gaza City. The picture proved controversial after Hansen was accused of manipulating and toning his image. The ensuing debate forced World Press Photo to change its rules regarding “the permissible levels in post-processing of image files” submitted.
BJP Editor Simon Bainbridge comments:
The more I see John Stanmeyer’s World Press Photo of the Year, the more I like it.
On first glance, seen without a caption, it looks like a rather cliched setup shot for a telecommunications advert, the silhouetted figures resembling sculptures – a naff reference to Mayans praying to their sun god, perhaps? – holding their mobile phones aloft in apparent reverence. But that works in favour of the picture when you learn that it is a reportage shot, and it highlights one of the most important stories of our times.
The figures are, in fact, African migrants, standing on the shoreline of Djibouti, the small republic wedged between the war-torn countries of Eritrea, Ethiopia and Somalia on one side, and the kleptocracy of Yemen, a short hop across the Gulf of Aden, on the other. They are holding their mobiles aloft in an attempt to catch a less-expensive phone signal from Somalia – maybe their only link to relatives abroad, or perhaps to contacts who will help them transit to Europe or the Middle East in search of better lives.
It is then a surprising picture, quite different from the images we are usually given to illustrate the wider story of migration out of Africa. It also hints at the role technology plays in this story, highlighting the fact that mobile phones, the internet and social media are bringing the so-called Undeveloped World closer to us in the West much quicker than the often arduous journey that migrants take to escape war or poverty – a reminder that our wealth and opportunity can no longer remain hidden.
see all pictures in the gallery
The latest Rig Anthony Look Book was shoot by our team at Rig Anthony Look Book Shoot at Ocean Urban Lounge in Bangkok.
See backstage video:
and sample pictures:
by Martushka Fromeast, Nyima Tamang
“The main aim of my project is setting a clear goal and enabling a group of young people to accomplish something spectacular. I did not want 27 children in Syafrubesi, Nepal to become photographers, but I wanted them to get courage. I wanted to empower them and help tem to find a way to achieve whatever they want to achieve, regardless of their economic situation.”
In order to prepare ‘The Story of Gosaikunda from the Eyes of the Kids from Syafrubesi’, we created a set of photographs illustrating a local story, Chogar and Chona, shared with us by a local shaman. A group of 27 young people living in Syafrubesi village in Lamtang region of Nepal were supervised by myself and Nyima Tamang a local activist. The young people also received some training from Kishor Dangol and Priya Tamang, both from Kathmandu, Nepal.
I collected in Poland and UK second hand digital cameras from different people and took them to Nepal and taught young people how to use them. Afterwards, during carefully planned sessions, we divided the story and prepared professional storyboards. We worked towards the plan, carefully designing every picture. We shot knowingly and used a variety of photographic means, playing with narrative sequencing and visual language of photography itself, carefully choosing the natural light or mixing it with artificial light, using long and short exposures, fake perspectives and so on. As a result, we created 20 pictures to illustrate the story.
The Gosaikunda Lake is situated at 4380 meters above the sea level. The lake is considered to be holy by Buddhist, Shamans and Hindu believers. The set of pictures illustrate the local story explaining the creation of the Gosaikunda Lake:
‘There is an amazing place nearby. Many years ago there was a village between hills. In this village, there lived two sisters, eldest was Chona and youngest was Choga. Once they set off to the jungle to fetch grass for the cows. They got very tired as they worked really hard. When they saw a beautiful place they decided to take a little rest there. When they finally set on to home, Chogar saw next, an even more beautiful place. Oh, how much she wanted to reach there. She started to walk. Suddenly, Chogar and Chona were no more together. No one knew where was Chona, Chogar was searching her so hard. Few months passed and Chogar was still searching for her sister Chona. Chogar was so tired searching, no where being able to find her sister Chona. Finally, in one place, she just sat. Chogar was searching days and nights and anywhere she could find any information about her lost sister. She had in her heart the true love for her sister. This love changed her into a Goddess. When she finally found her sister she was very happy. But when they started to talk, it came out that Chona found a place she really wanted to stay and she did not wanted to live anymore with Choga. Choga got really angry as she was searching her sister for all this time. But Chona’s heart was black and she did not care for her sister’s feelings, she just left to live by her own. Chona’s egoism made all her body black. Chogar said to Chona: “You may stay by yourself, anyway I will be always around. One day you will see.” Since then Choga become a respected Godess and all the people celebrated her. When the sisters time passed, they changed into lakes. Since then, every year during Janai Purima holidays, we come to the Gosaikunda lake to celebrate Choga.’
To set a clear aim and enable the group of young people to accomplish something spectacular is what was most important. I did not want 27 children in Syafrubesi, Nepal to become photographers but I wanted them to become courageous. I wanted to empower them, disregarding their economic situation, to be able to find the way and achieve things they want to achieve.
The project was financially supported by Polish Institute in New Delhi, Social Welfare Foundation, Syafrubesi as well as via a Kickstarter campaign supported by a group of individuals. I want to thank my local collaborator Nyima Tamang for help in running the workshops. I was also supported by volunteers from Kathmandu: Kishor Dangol, Priya Tamang and Prakash Sijapati.
Pictures taken by children from Shyabrubesi and Martushka Fromeast
Story curated & edited by Martushka Fromeast
in collaboration with Nyima Tamang, Kishor Dangol & Priya Tamang
The most astonishing pictures of 2013 – Reuters releases its best photographs of the year.
See all at the Daily Mail website
Around 200,000 demonstrators rallied in Bangkok, with protest leaders saying their goal this Monday is to storm Shinawatra’s office, known as Government House.
During the weeks of demonstrations, protesters have occupied various government offices. The rallies have been mostly peaceful, but clashes between protesters and government supporters on November 30 left five people dead.
Protesters and police, who had confronted each other with tear gas and rocks in parts of Bangkok last week, agreed to a truce Tuesday in a show of respect for Thailand’s revered king, who celebrated his 86th birthday Thursday.
Protest leaders have said they want to rid Thailand of the influence of former Prime Minister Thaksin Shinawatra, the older brother of Yingluck.
Thai Prime Minister Yingluck Shinawatra dissolved the nation’s parliament Monday and called for new elections. But the move did little to appease anti-government protesters who remained on the streets by the thousands.
This is how the day looked like:
Selected from over 800 globally submitted titles, you can expect the 60 films shown at the festival this year to be the cream of the crop. Screenings are spread over 10 days at SF World Cinema from Nov 15-24. The selected films are categorized into five categories: Asian Contemporary, Cine Latino, Cinema Beat, Doc Feast, Short Wave and a retrospective of Thai veteran actress Jarunee Suksawas.
The festival is also a good chance to catch any films you missed out on like Karaoke Girl, Tang Wong and the controversial documentary Boundary. As for the inter flicks, we’re looking forward to The Cleaner (Peru), The Last Shepherd (Italy) and Instant Mommy (The Philippines). You can also see The Itshmus (Thailand) which premiered at the Busan International Film Festival and is now finally making its Bangkok premieres
The objective of the World Film Festival of Bangkok is to introduce quality, non-mainstream films from all over the world. It aims to become a showcase for independent films and new work from rising talents to cinema masters to show the continuity from generation to generation as a vital component in the development of the film industry.
More than 80 international films are screened at the festival each year, featuring works from the European Union Film Festival, Latin America, Asia and Southeast Asia and included short films, experimental films, documentaries and animation productions – which are considered a new focus of the industry.
Apart from film screenings, there are film-related talks such as Master Class Workshop and other special events. The festival, in co-operation with the Festival of Three Continents and Produire Au Sud from France, also runs a workshop to guide film producers seeking funds for their new projects. At the end of the workshop, the most interesting film projects in Southeast Asia will be selected to receive funds and the makers will be invited to the final selection in France.
With over seven years experience, the World Film Festival of Bangkok has now become a significant film festival in Southeast Asia attracting more film industry and media from all over the world and is also attended by directors, film stars.
The organizers will continue to carry forward the spirit and intent of the festival’s establishment. – that is to make the World film Festival of Bangkok a centre of international films in Bangkok, already famous as one of the world’s capital city’s of culture and entertainment.
Offical webiste: http://www.worldfilmbkk.com/
“After many tries with various styles, the latest collection of Hook’s by Prapakas will mark its return to the brand’s core identity of femininity and sexiness. We use the basic of punk combined with couture fashion and introduce the new silhouette that has black as main color with neon or metallic colors. we started working on this collection early this year and of course we have worked very hard to perfect every single detail. Half of this collection is ready-to-wear which consists of shirts, skirts and pants. The other half is couture clothes and unisex apparel. ”
Source: Hooks by Prapakas Press Release
See all collection below:
“This collection’s inspiration comes from the curved and geometric prints which appear on the pottery of Ban Chiang in the north eastern Thailand. The form of these potteries connects with silhouette in this collection. The colors scheme is not limited to to the colors that we used in the past but we also use black,gold, maroon and cream. In addition we also have embroidery made by hand and flower pattern that is our long-time signature.”
Source: Tipayaphong Poosanaphong Press Release
See all collection below:
The book “Drawn from Paradise”, which includes the sketches from Bird Paradise, catches our attention and inspires us greatly for this collection. We researched about different behaviors of birds and transformed them into prints. For this show we want Vatanika to have a clear image of the ready-to-wear clothing and make it different from another couture line “Vatanika Atelier” that produces gowns and wedding dresses. The show attendees will see stronger identity of the brand and our emphasis on presenting women’s natural curves.
Source: Vatanika Press Release
See all collection below:
Digital technology is such a good thing especially for those with extremely creative imaginations. London-based artist Daniella Zalcman realizes the concept behind her latest project, which is simply called New York + London: A Collection of Double Exposures. As the title declares, the collection is simply what it states.
From the Far Rockaway to the South Bronx in New York, or from Hammersmith all the way to White Chapel in London, the series merges iconic landmarks and imagery, turning into a series of amalgamated images of locations, haunts and skylines.
Originally inspired by the concept during her last month in New York City, Zalcman snapped over 100 smartphone photographs of the streets in NYC. With that start, she then used different smartphone apps to juxtapose her pictures of the Big Apple over images of London.
The composite results reveal striking similarities between two of the world’s most iconic cities. Zalcman’s work has been featured in The Wall Street Journal, Vanity Fair, and Sports Illustrated, and she is at present raising funds thru Kickstarter to fund a photo book of her work.
Zalcman recently spoke of New York + London: A Collection of Double Exposures,
“I was inspired by my move from New York City to London last year. I think it’s natural (and unavoidable) to constantly compare your old home and your new home when you move somewhere new (“London cab drivers actually know how to get around!” “The Tube closes at 12:30am?!”), and this is my way of visually capturing that instinct. These images are very much about architecture and urban infrastructure and I love comparing the two cities in that particular respect. London feels like such an old city rooted in visual tradition, where New York always feels like it’s trying to be as shiny and new as possible.”
Source: Double Exposure
World Press Photo, who has selected VII Photo co-founder Gary Knight as chair of its 2014 contest, has announced a change of rules regarding “the permissible levels in post-processing of image files” submitted following this year’s intense debate about manipulation in photojournalism
Earlier this year, World Press Photo was forced to re-evaluate the integrity of its winning image following false allegations of forgery leveraged against photographer Paul Hansen. While a panel of forensic analysts found that the image had not been digitally manipulated, it concluded that the image had gone through “a fair amount of post-production, in the sense that some areas [had] been made lighter and others darker,” wrote Eduard de Kam, a digital photography expert at the Dutch Institute for Digital Photography.
The allegations were at the centre of an intense debate about the increasing post-production practice in photojournalism, as discussed in a BJP article published last May.
Now, World Press Photo has confirmed that it will introduce new rules for its 2014 contest. “There has been a lot of discussion and widespread speculation regarding the permissible levels in post-processing of image files in the contest,” Michiel Munneke, World Press Photo’s managing director. “We have evaluated the contest rules and protocols and examined how to create more transparency, and we have changed the procedures for examining the files during the judging.”
He continues: “We will announce further details when the 2014 Photo Contest opens for entries later this year, but the bottom line is that we will need to be able to rely on the integrity and professionalism of the participating photographers.”
The contest will be calling for entries in December with a 15 January 2014 deadline. The winners will be selected by a jury chaired by VII Photo’s co-founder Gary Knight.
“The World Press Photo contest evolves every year as it seeks to adapt to the rapid changes in the media landscape,” says Knight in a press statement. “The very definition of what constitutes the press or what is a photograph has transformed since the Award was instituted. World Press Photo takes its role as the world’s most prestigious and multi-genre global photojournalism award very seriously and, as I look forward to chairing the jury again, there are new categories and a more diverse demographic of jurors to adapt to this changing topography.”
For more information, visit www.worldpressphoto.org.
Photographer Kacper Kowalski’s aerial photos of Poland make for a flattering introduction to the country. Protruding into the southern Baltic sea, Pomerania in Poland is well-known for its great areas of forests that are scattered with lakes and winding rivers. The Kashubian Lake District is a land of enormous forests, rolling hills, untamed ravines speckled with giant boulders, colorful fields, picturesque villages, active rivers and hundreds of beautiful lakes.
During fall, the diverse forest sites turn into a sea of colors, with the leaves wilting at varying degrees while exposing the deep undergrowth as well as waterways. While airborne from para-gliders and geo-planes, Kacper Kowalski has been photographing this beautiful area from the air for years. His glorious pictures demonstrate nature’s exquisiteness as it transforms through a year.
From Sept 10-15, Elle Thailand will host the Elle Fashion Film Festival, marking the first movie-fest in Thailand on the theme of fashion.
Post International Media managing director Sirimon Na Nagara said with Elle magazine advancing into its third decade soon, and after the ‘‘Burst out Your Style’’ campaign earlier this year, she found that the brand is associated with various aspects of life through fashion. ‘‘Elle magazine is more than just a fashion magazine. It is a part of life and culture. Weaim to be a fashion authority, and for us, fashion is all around. Film and fashion are inseparable — film influences fashion, and vice versa.’’
While it is not easy to define a ‘‘fashion film’’, after hard work and months of preparation, nine films have been selected for the inaugural event, hand-picked by a five-person selection committee, namely Elle Thailand editor-in-chief Panu Sombatyanuchit, SF Corporation’s Suwannee Chinchiawsharn, fashion stylist Araya Indra, Greyhound designer Jitsing Somboon and Bangkok Post film writer Kong Rithdee. None of the chosen films have been officially shown on the big screen in Thailand before.
Panu said that the nine films reflect fashion in different ways. ‘‘Blancanieves, for example, is a Spanish black-and-white silent film based on the fairy tale Snow White. Being black-and-white, we can see the silhouette without the depth that comes with colour, and we can see the mesmerising movement of clothes. A Single Man, the first film directed by Tom Ford, is full of fashion references in great detail. If you like fashion, you will tremendously enjoy these films.’’
Ultimately, the event is aimed at showing how fashion is accessible through lifestyle, according to Panu. ‘‘Fashion is not just on the runways. There are so many ways to look at it, and film is one of them.’’
Sirimon hopes the event, which will take place annually from now on, will inspire Thai people to try and make films that reflect fashion elements as well. ‘‘This year, we feature movies from France, Spain, Canada, the US and China. I wish to see Thai films in the list in the future, and I hope that this event serves as an inspiration for Thai people to embrace fashion and enjoy it through their own interpretation.’’
Fashion film festivals have taken place all around the world, from Croatia to South Korea and from the US to Japan, and the idea has been embraced by fashion and film crowds alike – and audiences who enjoy a thematic approach to movie-going.
ELLE Fashion Film Festival 2013 runs from Sept 10-15 at SFX Cinema, Emporium. Tickets cost 150 baht per seat, with 184 seats available per movie. An art installation will be displayed as a part of the festival at Fashion Avenue, 1st floor, Emporium.
ELLE Fashion Film Festival 2013 schedule:
8:00 PM - Single Man
8:00 PM - Blancanieves
8:00 PM - I Am Love
8:00 PM - L’Amour Fou
2.00 PM - Face
5.00 PM - Color Me love
7.30 PM - Coco Chanel and Igor Stravinsky
3.00 PM - Heartbeats
8:00 PM - Farewell My Queen
I am Love
“As a young, working class Russian, Emma (Tilda Swinton) is whisked away to marriage and life in the aristocracy of Milan. She dutifully raises her kids and organizes huge dinners and parties at their mansion as the Rechhi’s entertain business clients and their own family. It is during these parties that we realize Emma is technically part of the family, but really is still an outsider. She escapes to her own space once the events are running smoothly.
Being an avid cook herself, she easily clicks with a brilliant young chef introduced to the family by her own son. Very little doubt where it’s headed at this point as Emma unleashes the pent up energy she has been forced to hide. While we are very aware that the upper crust has learned to look the other way with infidelity, that’s not the case with the Rechhi’s and their Russian wife/mother.
The brilliance in the film is that it shows how the younger generation doesn’t really fit any better than Emma. The difference is that they are part of the fabric and will be allowed more rope than an outsider. Still it is painful to watch Emma and her son, who can’t quite adapt to the family business. Better yet, to watch her with her daughter, who confesses her preference for other women. Emma sees herself in these two, but doesn’t have the same freedom. Her best ally is the caretaker who seems to understand the multiple levels on which this family functions.
Fascinating interactions and complex writing make this a film for film lovers. There is so little dialogue, but so much is said with a glance or head nod.” (by imdb.com)
“The curtain rises on a despondent George (Firth) having lost his longtime partner. Sapped of energy and will, he struggles to wake each day and function as the brilliant college professor he’s expected to be. Few notice the change in him, but one student sees George as a magnet pulling him forward to a place even he doesn’t understand. Kenny (Hoult) seems to glow like an angel in George’s dark world and, yet, is a puzzle and presents a challenge which he doesn’t necessarily want to confront at this stage in his life. As is his custom, he turns to Charlotte (Moore) for a warm shoulder but the temperature drops amidst the chill surrounding George’s bleak existence.
Everything about this film — the look, colors, pacing, shots, composition, cinematography, costumes, soundtrack — says that an extraordinary amount of love and care went into it. Special mention to director of photography Eduard Grau and editor Joan Sobel for their keen abilities to work lockstep with Ford in projecting his vision onto the screen. Abel Korzeniowski’s score is haunting and moving. Despite his design genius, Ford was generous enough to entrust costume designer Arianne Phillips with the freedom to work unencumbered. Production designer Dan Bishop, with art direction by Ian Phillips and set decorator Amy Wells, created two worlds — a cold, stark one in which George sees only hopelessness, and another warm, colorful one in which he has hope.
What stays with the viewer, though, is the enigmatic friendship between George and Kenny. Nicholas Hoult is absolutely mesmerizing in this. The way Ford shot him made people gasp. He’s lit, framed, and shot like an Adonis. Of course, that’s the idea here. This will definitely be a break out role for the 19-year-old. The camera loves him, and it’s a pretty daring performance.
Most of all, this is a tour de force for Firth and a stunning achievement which is destined to be a highlight of his distinguished career. The range of emotions and the extent to which his character must convey them through his eyes and facial expressions, with the copious use of long takes without dialogue, left me wide-eyed with wonder.” (imdb.com)
In commission of the City Archives and the The Amsterdam Fund for the Arts Erik Klein Wolterink has focused on the innards of the kitchens, as if the exterior didn’t matter.
The photographer opened cupboards, drawers, fridges and ovens. Each piece he photographed separately and reconstructed the images again to one unit. Like him, we zoom in on what the cupboards have collected over months or even decades. From instant mashed potatoes to truffle oil, from Maggi cubes to Ethiopian spice mixes. This is the raw material with which we must try to imagine who belongs to these kitchens.
A well-stocked kitchen refers to Turkish cookery with goat’s cheese and halal sausage. But the mix for homemade apple pie is a witness of an open attitude towards other customs. A mother shows her African roots with a plastic Voltic Sparkling Water bottle filled with palm oil. Female students undermine our prejudices with a spotless kitchen. In the kitchen of a family with growing children, a packet of Korma curry of Pakistani descent and cardamom pods try to square themselves with Dutch kitchen habits. Here the Dutch sandwich culture leaves its traces in the sandwich wrappers in the drawer, the sandwiches in the fridge and the Nutella chocolate paste in the sink cupboard next to the abrasive agent. The kitchen as metaphor of a complex, multicultural reality.
The book Kitchen Portraits is for sale in the City Bookshop.
see all the pictures here
Moviemov Italian Film Festival, a showcase for the most representative Italian movies of the current year, brings to Asia only films unreleased in the host countries. Seven movies of the season 2012|2013 will be screened every day complemented with specific promotional activities, including the participation of famous Italian directors and actors to Q&A sessions with the press and the audience and meetings with the students. The program will include a retrospective dedicated to one of the most famous cinema Master and a Thai showcase.
All screenings are free entrance with Thai/Eng subtitles
See the whole schedule here
Antonio Busiello (first picture below) won for his photograph which ‘raises valid and contemporary questions about body image.
Judge Anthony Holland Parkin said: “The Cullatore struck a chord with a number of the judges. In a world obsessed with retouched perfection, Antonio’s honest image of a man proudly displaying his huge calluses challenges the viewer, and raises valid and contemporary questions, about body image.”
Busiello was one of 1,285 photographers from 59 countries to enter the competition, of which 115 were selected for the exhibition.
source: Independent UK
Enjoy collection of images from the latest event organized by us and Bangkok Event Entertainment at Atlantis Club in Hua Hin.
Maggie Choo’s is the latest creation of the popular designer Ashley Sutton, the man behind the incredible ‘Bookshop’ and ‘Iron Fairies’ bars. Located at the end on Silom road, under the Novotel Fenix Silom and near to the famous ‘Sky Bar’ at Lebua, Maggie Choo’s is both a restaurant and a bar, a place like nothing we have seen before in Bangkok or beyond.
The roster of live music includes R&B, blues and soul from Keithen Carter, a veteran of the Chicago scene who has worked with Chaka Khan, Ramsey Lewis and Curtis Mayfield, among others. When he’s not crooning and finger clickin’ beside the piano, there might be a DJ spinning or a set from Jul & Co, a French duo who fuse live lounge grooves with Daft Punk-style vocoder.
We had a chance to shoot Keithen and Jul & Co there. See some pictures from the session below:
all pictures by allPhoto Bangkok
BK Magazine has asked Bangkokians “What is it that you love so very dearly about your beautiful city?”
This is what they said: