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ISSUE 01 SERIAL MAGAZINE
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DARK PASSENGER WINTER2010_11 1
ISSUE 01SERIAL MAGAZINE
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“I’M HUNGRY FOR SOMETHING DIFFERENT”
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illustrationHYDRO74
”Blood. Sometimes it sets my teeth on edge. Other times it helps me control the chaos.”
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EDITOR’S LETTER
ello. I am a se-rial killer. Its what I am, death de-fines who I am. By the way, it
Honest, passionate and unmerciful.www.darkpassenger.com
also defines who you are. You see, we are all killers.
Every organism that draws breath kills to survive. Carni-vores slaughter animals for their meat, herbivores massacreplantlife by the trillions. Man is an omnivore, we kill every-thing that moves. Of course, to soothe the human conscience and its feelings of remorse and sorrow, we tell ourselves we slaughter and butcher ‘just for food’. I know better. I don’t have feelings, it helps me see things more abstractly.
portraitLUC KERSTEN
Deep inside, I suppose a true killer is somewhat of a frustra-ted artist. The act of murder is underappreciated to say the least. Anyone can kill, simply taking a life requires no innate artistry. Cavemen have been bashing heads in with stones since the dawn of time. There is no appreciation for the tech-nique behind a kill.
Death is art, deciding who dies next sparks the creative soul of a true serial killer. To grace-fully snuff out the light in your victim’s eyes is understanding what Da Vinci saw when he fin-ished his Mona Lisa. A body is my canvas, its blood my paint, with it I create my serial mas-terpieces. Every artist lives to be
appreciated, that’s why a real killer takes pride in what he does and develops his own unique style. After all, why would anyone go to so much trouble and not be appreciated for their hard work. This magazine will introduce you to my very own personal style. Living to end the life of others, it takes a special kind of person to do that. Do you have what it takes? Are you afraid we might be more alike than you’d like? Read my magazine and discover the hints to my identity. Who knows… you might find its not too different from your very own…
Dexter Morgan
H
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CHAPTER ONE
IN WHICH WE INTRODUCE OURSELVES
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Editor-in-ChiefLuc Kersten
INDEX
GraphicLuc Kersten
PhotographyLuc Kersten
IllustrationLuc Kersten
StylingLuc Kersten
I would like to thank all the contributing photographers and other artists for being a part of this magazine; Ahmet Steltman, Annie Cattrell, Bruce Conner, Damien Hirst, Diane Arbus, Fathali Schoen, Harold Edgerton, HYDRO74, Jef Willemsen, Kittiwat Unarrom, Lynn Silverman, Mark Quinn, Martin Klimas, Nancy Grossman, Peter Feiler, Sigur Durgudjonsson and Toba Khedoori.
WORDS, PICTURES, THANKS...
Editor-in-ChiefLuc Kersten
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QUOTE
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QUOTE
“EVERYONE MUST HAVE A FANTASY”
ANDY WARHOL 1928 – 1978
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CHAPTER TWO
IN WHICH WE SHOW WHAT WE LIKE
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SPINAL COURSEphotoLUC KERSTEN
DARK ART
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DARK ART
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The windows depicted in Lookout were photo-graphed in the United States, Great Britain, and Australia, countries where Lynn has lived for an extended period of time. Lookout is a collection of observations into how we live in proximity to other people and nature, and how we strike a balance between the desire for contact, concern for security, and our need for privacy.
LOOKOUT
photosLYNN SILVERMAN
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DARK ART
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DARK ART
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DARK ART
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photoAHMET STELTMAN
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SUICIDE
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REPRESENTING A CLASSIC
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DARK ART
MARTIN KLIMAS
HAROLD EDGERTONVS
- Dr Harold Edgerton was the first man in history to freeze moments that are to fast to see. Now decades later photog-raphers use these techniques to make smashing images
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DARK ART
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DARK ART
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illustrationFathali Schoen
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DARK ART
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DARK ART
photographySigur Durgudjonsson
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DARK ART
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THE RORSCHACHEFFECT
- Psychologists tell us the rorschach is the gateway to the human soul. Could you have an underlying disorder?
Graphic LUC KERSTEN
DARK ART
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DARK ART
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DARK ART
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masksNANCY GROSSMAN
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NO AIR
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DARK ART
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DARK ART
The city doesn’t know what’s coming,She doesn’t feel the heat.
The city won’t know what hit her,What knocked her out into the streets.
The city is thinking that it’s over,and she’s already fast asleep.
So I’m breaking out of here tonight.I am ready.
We’re given only what we need,Only the chance to survive.
And even then, it’s a coin toss,A roll of the dice.
There’s gotta be something better,Something that feels more alive.
So I’m breaking out of here tonight.I’m breaking out of here.
BREAKING OUT
Photography BRUCE CONNER
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illustrationTOBA KHEDOORI
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photographyLUC KERSTEN
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illustrationPeter Feiler
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Annie Cattrell trained as a sculptor and has a studio in London. Her work captures moments in time, fleeting things, clouds on a particu-lar day, a breath inside a human lung. Her subjects stem from her interest in areas such as neurosci-ence, anatomy and meteorology, and she is drawn to the fusion be-tween science and art.Cattrell works with a variety of ma-terials and skills. She is drawn to
working with glass because of its transparency and ability to reveal. Using different techniques she pushes the boundaries of can be achieved with glass, both physical-ly and conceptually. Making the invisible visible and the ethereal solid, Cattrell offers a view of what is inside us and around us.
‘I choose the familiar, for example a cloud, so whatever language
you speak there is a kind of univer-sal understanding. It is the transfor-mation and freezing into 3D of this iconographic subject matter that interests me: what happens when you contemplate something you think you know but shouldn’t really be seeing this way. This 3D vantage point allows the viewer to examine the subtle shifts and rhythms which ceaselessly occur in the natural world and within the body.’
A BREATH
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´process´glassANNIE CATTRELL
OF AIR
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OF AIR
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CHAPTER THREE
IN WHICH WE VISIT OUR HOTSPOTS
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Japan as a country never stops amaz-ing us. I am sure you have heard of, or seen the “Nyotaimori”which literally means female body plate. Restaurants that serves sushi and sashimi on a naked woman’s body.
If that is not exciting enough. Japan has just invented another way of eat-ing, where a “body” is made from food and placed on an operating table, much as though in a hospital.
CANNIBALISTIC APPETITEYou start this dining experience by op-erating this woman, wich allso seams to be wearing her wedding ring. The body will actually bleed as you cut it and the intestines and organs inside are completely editable. A real ban-quet of Cannibalism.
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Thai Fine Art student and artist Kittiwat Unarrom is the son of a baker. All that baking exposure growing up has been a clear influence, but his artistic need to see things a little differently definitely flared up as he cre-ated the tacitly named “Body Bakery” – brutally, grue-somely, almost unbelievably realistic looking sculptures of dismembered human body parts sculpted entirely from bread.
They’re packaged like food and up for sale at his showroom in Ratchaburi, Thailand. I’m incredibly impressed at his sculptural skills. I’ve seen some hyper-realistic sculpture before, but, at the risk of becoming completely inarticulate… these really look like heads.
Unarrom himself is almost charmingly candid about his art: “Of course, people were shocked and thought that I was mad when they saw the works. But once they knew the idea behind it, they understood and became interested in the work itself, instead of thinking that I am crazy.”
Inspired and informed by anatomy books and visits to forensic museums, he makes sure that none of your various body part bread desires go unfulfilled: he also makes feet, hands, and internal organs which come displayed impaled on hooks. Made from dough, raisins, cashew nuts, and chocolate, all of the works on display are edible.
“When people see the bread, they don’t want to eat it. But when they taste it, it’s just normal bread. The lesson is ‘don’t judge just by outer appearances.”
Right. That’s the lesson…
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BODY BAKERY
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CHAPTER FOUR
IN WHICH WE LOOK AT THE PAST
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Arbus experienced "depressive episodes" during her life similar to those experienced by her mother, and the episodes may have been worsened by symptoms of hepatitis. Arbus wrote in 1968 "I go up and down a lot," and her ex-husband noted that she had "violent changes of mood." On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus took her own life by ingesting barbiturates and slashing her wrists with a razor. Marvin Israel found her body in the bath-tub two days later; she was 48 years old.
THE LEGACY
- A friend said that Diane Arbus said that she was “afraid... that she would be known simply as ‘the photographer of freak’”; however, that term has been used repeatedly to describe her.
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OF ARBUS
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DARK VINTAGE
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I can’t feel my sensesI just feel the cold
All colours seem to fade awayI can’t reach my soul
I would stop runningIf I knew there was a chance
It tears me apart to sacrifice it allBut I’m forced to let go
Tell me I’m frozenBut what can I do?
Can’t tell the reasonsI did it for you.
FROZEN
Art DAMIEN HIRST
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Mark Quinn's signature piece is often considered to be Self , a frozen sculpture of the artist's head made from 4.5 litres of the artist's own frozen blood taken from his body over a period of five months. This work is repeated every five years and will result in a unique record of the artist aging.
1991 2001
AGING PROCESS
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2006
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