Summer has passed, and we’re happy to present to you the fourth issue of The Garlic Bread Magazine.

We came to realize that although we do not have a title to each of the Bread’s issue, after reviewing our editorial work in progress, the body of work as a whole does signify a greater subject that attracts photographers, no matter where they come from, or their current occupation. In our fourth issue we encountered a great interest in the photographer’s ability to challenge reality and even more, their constant search for the paranormal.

In this bimonthly issue we feature photographers from Germany, Israel, Argentina, France, and the US. We’re very happy to find interest in our magazine from different places, and it is a great opportunity for us to exhibit works from around the world, showing the international language of visual arts.

We hope you find this issue as interesting as we did, and we encourage every photographer to send her/his works to our magazine. Sasha & Yoav www.thegarlicbread.com

KATE GREENEwww.kategreenephotography.com CYNTHIA NUDELwww.cynthianudel.com FABRICE FOUILLET www.fabricefouillet.com ALEXANDER GEHRING www.alexandergehring.com YANAI MENACHEM www.yanaim.com

PARTICIPANTS:

KATE GREENEAnomalous Phenomena

My work stems from a curiosity regarding visible phenomena in the physical world. At the same time it is fueled by an anxiety that revolves around the hidden, the undetected and the unknown. I use Nature as an entry point into my examination of this interconnected wonder and fear and the camera as both a revelator and a witness. Influenced by the peculiar visual form of early occult photography, the symbolic content of 17th century Dutch still life and the obsessive process of botanical recording, I photograph both carefully constructed nature tableaux as well as the outside world as it is transformed by light and time. By visually describing the phenomenology of Nature I attempt to elicit a sense of amazement in the viewer while simultaneously alluding to the gap between the logic of the physical world and the human experience of it.

In my current series of photographs, Anomalous Phenomena, I am exploring anxieties regarding domesticity through its strange connection to the natural world. Using a collection of deceptively toxic houseplants, I carefully compose interior scenes where the plant life is suspended in mid-air. I combine these images with exterior landscapes where both natural and artificial light transforms the visible world. This juxtaposition reveals a dream-like tension between the inside and outside, illuminating the space between what we see and what we know.

CYNTHIA NUDEL Artificial Nature

Zoos expose a tension between the natural and the artificial. Animals are confined in environments that contain manufacturated and natural elements controlled by men. Branches, leaves and sand are mixed with the paint from the sceneries. Cement coexists with vegetation. This attempt to recreate wildlife in an urban environment produces a kind of artificial nature that hangs in a no man’s land.

FABRICE FOUILLETCorpus Christi

Through the series « Corpus Christi », I wished to highlight the architectural aesthetic of the new places of worship and their hymn to minimalism, which has represented a genuine creative inspiration in modern religious architecture. Participating in a movement initiated in the 1920s and perpetuated by great architects such as Guillaume Gillet, Gottfried Böhm and Auguste Perret, most of these churches were built in the 1950-60s.Scattered throughout Europe and the world, they reveal a new conception of the sacred, a representation of the divine imbued with modernity, thus triggering a debate and a rejection from some architects and members of the clergy.

I have chosen to capture this break with centuries of architectural tradition, the choice of materials; reinforced concrete, plastic, crystal, diffusion of diaphanous or bright light, and to draw the viewer’s attention to the altar at the bottom of the picture, respecting a perfect symmetry, while the height of the building confronts our smallness to the greatness of the sacred.This work also insists that many unique interiors structures could be made for the same type of institution.

ALEXANDER GEHRINGMessages From The Darkroom

The photographic series ‘Messages from the Darkroom’ investigates the connection between photography and the occult. Based on historical photographs published by early twentieth century parapsychologist Dr. Albert von Schrenck-Notzing, ‘Messages from the Darkroom’ enquires the ability of the photographic camera to capture magical or paranormal phenomena. Schrenck-Notzing, like many other scientists in this era of technical revolutions, when modern media began to make their first steps, was interested in occult phenomenona like mediumship and the physical exposures human trance-mediums were said to be able to produce. By using a photographic camera he tried to give a solid proof for the occult phenomenons to be part of reality. He believed in the objectivity of the photographic image and its technique which allowed him to exclude any doubt or suspicion of human fraud. What we see as the result of his photographic experiments are rather obscure than illuminative images which are unique in the history of photography.

‘Messages from the Darkroom’ uses this ambivalent imagery of Schrenck-Notzing‘s historical photographs to ask if photography is sensitive enough to record supernatural phenomena. Between the desire to expose the supernatural and the acceptance of the technical impossibility to capture it, the work opens up a space of eventualities where analogies between the photographic technique and occult practices get visible: The darkroom turns into the séance-room just like the photocamera becomes the medium in trance. Eventually, the photographic technique, generally understood as a means of objectively capturing reality, is shown in a different light: it seems that during the photographic séance the camera reveals its own magical aura.

YANAI MENACHEM Golem

The project was created from a desire to see things in a different light. Not taking everything for granted. My work deals with the past as an inseparable part of assembling the present.I found an old piece of metal. Something round and heavy, a part of a very old pipeline, green and rusty. I will build a camera from it. Dad Finds an old hotplate in the warehouse. It fits perfectly. I break the head from the rest of the pipe and connect the plate. It's heavy.The Photographic process takes place mostly in my little room at my apartment on King George, Jerusalem.Takes About fifteen minutes in the dark to open the screws and load my camera film. The first experiments are necessary to understand how it works. Long exposure on the roof and then straight to the shower, to develop the film.During the shooting there's an attempt to examine the non-physical distance between the individual and their environment.I become completely isolated from the outside. A distant environment I created for myself in the room.The Photographic process that burned in me in the past, has become in recent years something pleasant but not piercing, wounding, or one that leaves a mark.I struggle in the dark to open the camera screws, move it from place to place, set it up and prepare it for shooting. I cut myself while working with it. Stay up through the night building sets for a single shot which outcome is completely random.I invite people in my room and shoot them. They stand. I tie things to them, tape and glue them to other objects, and they suffere with me.The image became secondary, the process became the matter. Decomposition, assembly, suffering, patience.The images are displayed on outdated lighting fixtures that were converted into light boxes.

The garlic bread is cooked for you by:Sasha Tamarin & Yoav Peled

All rights for the images are protected and reserved to the artists. No image in this issue can be printed or used without the artist’s permission.

www.thegarlicbread.com info@thegarlicbread.com

The garlic bread wants to grow and spread, which is mainly depends on you! You are invited to submit your works, after reading the instructions on our web site.

Back Cover by Yanai Menachem