Thoughts on William Klein, 

the father of street photography. 

Before I went to see William Klein & Daido Moriyama’s joint exhibition I noticed Tate’s question on Twitter one day. There it was inviting me to answer. “What inspires you about urban photography?” And this is what I came up with that afternoon: “Streets are like a stage, where people around you bring the space to life. You never know what you might take home with you.”

I thought about the nights I spent searching for queues, when I was working on my final creative project at university. But I also thought about my life in London for the past seven years. Everyday I am surrounded by masses of crowds. And this is why street photography is such an exciting area to get into. A capital city like London is a ‘stage’, where millions of people blend in. Each and every one of them goes through its own path with a mission in mind. People pass each other often not even noticing what takes place around them. From a photographer’s point of view this is like an ideal set to enter. 

One of the Twitter users replied to my tweet, answering ‘memories’. I have to admit it made me think. It was an interesting way of thinking about it, but it wasn’t my way. Ever since I got involved in ‘amateur’ street photography I have always aimed to blend in, not engage with the passersby.

Why would I? What would be the whole point? And creating memories? Whose memories? I remember some incidents when I was capturing the queues for my nighttime project. But I would rather categorize those thoughts as experience. Perhaps, because my project also included research into women as street walkers and me reflecting my experience. But memory? I just couldn’t work around that thought. So I replied to her: “I don't reflect thinking I was there. Do you? I see it as a story, the city and people completing each other.”

Few days later when I visited Klein & Moriyama’s exhibition, the old feelings emerged again. I was eager to hit the streets, pick up a camera and stay out until 2am in the morning. Why? Because during night time it’s less busy and people only gather at certain places. They wouldn’t wander around the streets. The majority of them would have an aim and be heading somewhere. And this is exactly what fascinates me the most. You could probably call me a stalker but I don’t see the point to hide. Anyhow back to the exhibition.

Photograph by Daido Moriyama

At Tate Modern, I realized what I like the most about street photography. The freedom. The spontaneous set. The way different characters blend and engage, or not. The facial expressions. I like to look at photographs and think back in time, how life was back then. How much time people spent on the streets. The carefree childhood. The endless parades and protests.

I first encountered William Klein’s work years back when I was studying photography. I found his style very interesting, especially his fashion and street photography. The scenes are playful and quirky, each of them embodies a story. And now, years later I finally had the chance to see his work in a gallery. I felt as if the spacious white rooms echoed of power emotions.

There were moments when I felt the immense graphic prints and enlarged black and white photographs brought the scenes on the photos alive. Tate Modern really is a great space for art.

Klein’s early photographic practice began on the streets. He started off by documenting the streets, which I like for its rawness, high contrast and graininess.  

To an extent I feel close to Klein’s approach to photography. He describes New York as the city he hated and loved. The Big city. Gritty. Children’s innocent laughter. As he said: “It’s not my story but I create a story.”

On his images you can see he has engaged with his subjects. The neon city signs, tags, newspapers. NYC itself seems like a large set or a theatre. In one room I encountered his earlier abstract work. This technique of exposing photographic paper to light has applied in his later work, especially in fashion photography.

When I exit the last room of Klein’s exhibition I see where the resemblance between his and Moriyama’s work lies. High contrast, silhouettes, close-up’s of people at parades. Capturing the notion of freedom. 

 . 

Picture credit: 

http://lectures-antonia.blogspot.co.uk/2012/01/lecture-seven-photograph-as-document.html

http://www.tate.org.uk/visit/tate-modern

http://www.lifelounge.com.au/photography/gallery/william-klein-is-the-father-of-street-photography.aspx#gallerytop

http://weheartit.com/entry/34294275

The last night of Tartuff love film festival

The first film of the night was Chico and Rita (2010) by three directors Trueba, Mariscal and Errando. It's an animated feature film about music, connecting a Cuban piano player and a beautiful latino singer.

The tale begins in 1940s Havana and follows both of the main characters careers throughout the years from Havana to New York and Las Vegas to Paris. All the locations and cities are beautifully drawn on with resemblance to reality and producing great cinematography. Graphically the film is superb. Even the nude are full of detail making it a definite adult cartoon. The tale also illustrates the peculiarity of the history of racism in the jazz era.

In the film various incidents and Rita’s excellent career opportunities tear the two apart. Over the years it is their love for music and each other that keeps Chico and Rita going. Their intriguing journeys throughout the film prove that their love is everlasting, even after being 48 years apart.  

As a whole the film combines an amazing story of jazz music and a passionate love story.

The festival’s last film was Cafe De Flore (2011) by a French-Canadian director Jean Marc Vallee. His previous films include the highly successful C.R.A.Z.Y.(2005) and the Young Victoria (2009).

The name "Cafe De Flore" is famous in many ways. According to the director his inspiration for the film was the clubbing hit and his own experience as a DJ.

I had mixed feelings throughout the film, from odd to melancholy. But it is the soundtrack that mellows the emotions in the film. The two separate love stories are portrayed in contemporary Canada and in 1960s Paris. In Canada, a handsome father of two and successful DJ Antoine (Kevin Parent) hits a mid-life crises. There is his wife whom he considers his soulmate and there is another younger women he falls for. While in Paris, Jacqueline, a single mum (Vanessa Paradis) is determined to raise her child, who has Down syndrom, to be as normal everyone else in the society.

About thought I kept thinking, where is the connection between these two love stories? On one hand, the film is confusing. On the other hand, the film's crosscuts and flashbacks add an intriguing twist. From a psychological angle it is interesting to observe the soulmates. Does the notion of soulmates exist or even last? At the same time Antoine’s mum Jacqueline tries to separate his son from Vero, a new girl from school also with Down syndrome. The children are inseparable since the moment they meet. Could they be soulmates at the age of six?

The tale becomes a mystery when the mother of Antoine’s daughters goes through a spiritual healing and connects with Jacqueline’s suffering in her dreams. Juxtaposing the heart break of the two women immerses the viewer in this emotional clash even more. However, there is light shining at the end of the tunnel, in the end they all let go. 

CAFE DE FLORE was RATED THE PUBLICS FAVOURITE FILM AT TARTUFF LOVE FILM FESTIVAL (2012)

Last Thursday was the first night when I officially started volunteering. I was working at Genialistid (Gen) club in Tartu, part of the Tartu Music Week. Because this year’s film festival included the "Prima Vesta" literary festival and Tartu Music Week, the volunteers also had a chance to pick and choose between events. For a week every night gigs took place at the Paulig coffee tent and in many other eccentric cafes and lounges in Tartu.

Before heading to work I thought to myself, what am I suppose to wear? Wherever I have worked at there has always been a dress code or a uniform. Luckily it turned out that there wasn't a dress code. Excellent!

When I arrived at "Gen club" my colleague was already present. An intelligent and sweet looking girl studying English literature at the Tartu University. 

Our table was positioned between two floors, dim lighting exposing the black graphic figures on the bloody orange walls. There was such a chilled atmosphere in the club. We were given a box of CD’s of the artists’ performing at the Music Week. It was my first experience selling and promoting emerging and already established Estonian musicians. When I checked out the schedule I spotted only one familiar name, Mimicry.

On Thursday night there were three bands: Galvanic Elephants, Elephants from Neptune, Barthol Lo Meyor. It was also a chance for us, the volunteers to enjoy the festival. My lovely fellow volunteer was familiar with some of the bands music. No wonder she was eager to attend the first gig. I stayed behind our little table with a friend of mine, listening to the gig and swinging along to the funky electro beats.

Galvanic Elephants was the first band performing that night. The band of four played a mix of punk, electro and chillout. At one point it was confusing to figure out what type of music it is as it varied from one song to another. But Galvanic Elephants were the public's favourite band of the night! We sold quite a few of their CDs.

Last up was Barthol Lo Meyor who plays raw electronic clubbing beats, which has also been categorised as "trash electro". Enjoyable if you like dance music and clubbing!

Galvanic Elephants

http://www.galvanicelephants.com/

Elephants from Neptune

http://soundcloud.com/elephants

Barthol Lo Meyor

http://www.fluon.blogspot.co.uk/

The line-up on Friday night: Machineries of Joy, Mart Avi & Ajukaja feat. Steve Vanoni and Mimicry.

This night attracted a different type of crowd. More adults, professionals, the capital’s "big wigs", DJ’s and fashionistas. It was a great experience catching up with the music scene in Estonia and not just the mainstream artists. I sensed quite a few bands had a progressive electro vibe in common.

"Machineries of Joy" performed an interesting mix of funky electro acoustic rhythm. At times it felt so surreal I thought it was Sunday even though it was a Friday night. I was eager to go out later and not straight to bed. 

"Mimicry" was the only band whose music I had heard before. Their video "Heat" is one awesome video. To me this duo’s performance was the highlight of the night. Upbeat, mind-blowing punk and electro mixed together. I could see the vibe in the room really reached the band's aim – to evoke emotions never felt before. Superb! 

During these two days I volunteered in the Gen club I realised that festivals are an excellent opportunity to enjoy the music and films for free. Cannot wait for the next opportunity!  

Machineries of Joy

http://soundcloud.com/machineriesofjoy

Mart Avi

http://soundcloud.com/martavi

Ajukaja

http://soundcloud.com/ajukaja

Mimicry

http://mimicry.varjend.com/

My Estonia on Instagram

My second night at the Tartuff love film festival.  

Previous memories of warm summer nights in Tartu had been replaced by a rather nippy weather. Many eager film lovers were present early again but this time wrapped in thick rainproof coats and blankets. 

Ever since I saw the program of Tartuff festival I was determined to see this particular film. Mainly because it is a foreign film depicting elements of real life situations in Arab countries. 

Where do we go now? is an excellent production by a female filmmaker who also stars as one of the main characters in the film. Nadine Labaki, a Lebanese director collected many awards with this film that portrays suffering and optimism in this isolated village where Muslims and Christians live together. It is a heart-warming and a humorous tale where a love interest emerges on the backdrop between a local bar owner, a beautiful widow and her charming decorator.

The film’s title was always in the spotlight telling the story how the wives joint forces and try avoiding violence occuring between the two religious parties. To me the most suprising moment was seeing one of the eldery widows washing his son with his daughter present in a rather modern bathroom. 

As a whole it is a long film. But the amusement brought by wives, widows and daughters to the remote and scenic location maintains a constant flow and viewers interest. Despite the religious conflict the film illustrates how faith and collectivism preserve life hopeful in this village. 

To me this film was definitely one of the best choices in Tartuff with a different approach on love. 

Interview with the filmmaker about the film. 

http://www.sonyclassics.com/wheredowegonow/presskit.pdf