No.1Matthew Soltesz(US)Kengo Sato(JP)Francisco Reina(NL)Emanuele Giusto(IT)María Mutebox(ES)

Pablo L.Jordan(ES)Garri Frischer(SE)DeFotomeisjes(NL)María Sevilla(ES)

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Welcome!Welcome to the first issue of imPrintMGZN, a quarterly magazine committed to the work of young and emerging photographers from all over the world, and where you, the reader, can acquire any of the published photos as original and numbered fine art prints.

We are here to support emerging artists that we believe are worth discovering. Here you can see and enjoy their work, and also take advantage of our user-friendly online system to become the proud owner of a piece of art photography while supporting a promising young talent. Which we think is an amazing combination. Bring a wider audience the experience of collecting art by the affordable rates that an artist in it’s early career offers. You’ll still get a limited edition fine art print from a just discovered talent but not only that . You ’ l l be par t i c ipat ing in the professional progress of that artist and in the effort of imPrintMGZN in discovering more talents worldwide.

New to collecting photographic art? What should you know to buy your first print? After attending many master classes, conferences, meet ing with profess ionals, reading interviews, etc. The most experienced collectors always give the simplest answer. Buy what YOU like.

It is my absolute pleasure to invite you. Please have an enjoyable journey through this pages.

Sally Fenaux

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kengo sato

Kengo Sato (Japan), a passionate amateur by his own definition, fell in love with analog photography in 2005 when he stumbled across his grandfather’s cameras (Nikkormat, Mamiya) while going through some old boxes. He was immediately amazed by the overall organic feel of photos captured on film which he found impossible to replicate with digital cameras. Researching analog techniques, he discovered lomography and soon realized its potential after acquiring a few cameras. Although he still may lack some technical specialist knowledge, his trial and error learning process has created him a personal guideline through his own experiences and interpretations, and thanks to hundreds of films he has invested on.

Kengo Sato focusses on lomography because this technique offers him lots of possibilities and manual freedom, and permits him to create images he has in his mind, trying to replicate the nostalgic feeling he wants to transmit somehow. He loves to manipulate cameras by covering the light meters with fingers or duct tape and using accessories that allow him to play around with his images without having to use photoshop effects. He uses color flashes, splitzers, holga kits, expired films, rewinding used films to reload onto other cameras for multiple exposures, etc ... There is something around these formats impossible to get from digital photography. Trying out all the brands of films has also been a huge inspiration, as each film shows a different life and color depending on the camera, the film iso, the shutter speed and the light available at certain time of the day. He declares that up to this day there’s nothing that can compare to the excitement he gets when processing a film and ascertain if he gets close to what he intended to capture. As can be seen in his series, Sato has a thing for multiple exposures where he transmits a certain feeling to the beholder.

kengo satoIn order of appearance:

1. Yasuko - 7x5in - LTD 15 - 447!2. Lady Luck - 6x6in/12x12in - LTD 15 - 447!/460!3. Roppongi Blues- 9x10in - LTD 15 - 450!4. Thoughts - 13x15in - LTD 15 - 455!5. Kyoto Blues - 7x5in - LTD 15 - 447!6. Tokyo Nights - 5x7in - LTD 15 - 450!

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7. Tramuntana love - 12x8in - LTD 15 - 450!8. Eros - 10x20in - LTD 15 - 460!9. Dead or alive - 5x7in - LTD 15 - 447!10.Indonesia vs Malaysia - 7x5in - LTD 15 - 447!

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francisco reina

“Latentis”, hidden, undiscovered, Francisco Reina’s images uncover views of everyday moments. Results of modern, social and global concerns. Focusing on the average human experience and interaction with power.

His projects reflect a concern with the progressive construction of social reality by social media, discernible not only in the increasing importance of images, but also in the gradual incorporation of a “simulated world” into different realms of daily life, such as politics and culture. His critical realism comes from these reflections and is achieved by metaphors.

Images are the centre of his work, but not icons. These depictions are constantly filtered through his personal experience and view of the world, and repeatedly questioned as materials and emotional entities, as both presence and memory.

Francisco Reina (Seville, Spain, 1979) explores through his photos the “liquid modernity” of our present world. This “liquid modernity”, a concept developed by sociologist Zygmunt Bauman, details the mechanism that blew apart the supposed stability of our world. The certainty of our shelter is deflating at breakneck speed. Distress, uneasiness, and uncertainty dominate our day-to-day reality and no action could be worse than remaining static or attempting to return to our false sense of security, where speculators make, unmake, destroy, alienate, corrupt and swindle mankind.

Francisco Reina’s photos depict our world falling apart in front of us. He speaks not of the individual himself, but as a piece of a corrupt and poisoned paradigm. What he transmits is nameless, shapeless and impossible, but we are all aware of it.

Nature, with its unpredictable and oppressive enormity, dominated humanity for centuries. Today it’s the political, economic, and social powers who arrest, repress, and box us in. No way out.

Despite their harshness, Reina’s photos amaze with their ability to salvage the beauty in the filth that surrounds us. To offer the observer obvious and naked truth without relinquishing fantasy is neither trivial nor contradictory. His images, pure allegories, must be pondered and felt simultaneously, and so the conflicting universe they portray and the narrative ferocity they underline.

francisco reinaIn order of appearance:

1. Latentis 2- 33,34x50cm - LTD 5 - 765!2. Latentis 1- 33,34x50cm - LTD 5 - 765!3. Latentis 4- 33,34x50cm - LTD 5 - 765!4. Latentis 3- 33,34x50cm - LTD 5 - 765!

Get a fine art print of this collection.

www.franciscoreina.com

imprint mgzn

“Timeless, original, revolutionary.”

Absolutely exciting project produced by imPrintMGZN in collaboration with María Mutebox

on her visit to Amsterdam last summer. “Timeless, original and revolutionary”, the 3-word mantra invoked by Eiko Ishioka as her three criteria by

which to judge the quality of works, came as the perfect inspiration.

Eiko Ishioka was the first female designer to receive the prestigious Nissenbi Grand Prix for

graphic design and art direction in Japan in the sixties. When she moved to New York she focused

on other disciplines and is actually better known for her work as Costume Designer for Bram Stoker’s

“Dracula” (1992, Academy Award), Tarsem Singh’s “The Cell” (2000), “The Fall” (2006) and

“Immortals” (2011) and for the Beijing-2008 Olympics, amongst others.

inspired by Eiko Ishioka.

Sally Fenaux, founder of imPrintMGZN, developed most of her professional career in costume design and met María Mutebox back in 2005 when they were updating their digital photography knowledge at the Istituto Europeo di Design.

Eiko Ishioka passed away last January 2012, and this is imPrintMGZN’s tibute to her and her extremely creative legacy. From early in her career she always imposed herself a quality test of the work she produced: Is my work able to stand the test of time? Is my work new and original? Is my work expressing a novel way of looking at things, revolutionary and not a version of someone else’s idea?

imprint mgznProduced by imPrintMGZNPhotography: María MuteboxConcept & Costume: Sally FenauxMake up: Vivian de WolfModel: Annemarie Lucassen

In order of appearance:

1. Immortal Virgin2 - 12x8in/24x16in - LTD 20/10 - 480!/525!2. Immortal Virgin1 - 12x8in/24x16in - LTD 20/10 - 480!/525!3. Dracula’s Bride2 - 12x8in/20x15in - LTD 20/10 - 480!/525!4. Dracula’s Bride1 - 12x8in/24x16in - LTD 20/10 - 480!/525!5. Immortals Mask - 12x8in/24x16in - LTD 20/10 - 480!/525!

Get a fine art print of this collection.

www.sally-f.com

muteboxphotography.tumblr.com

matthew soltesz

Occasionally, I would hop a train and just take it to the end. Living there was overwhelming at first; everything moves differently, like being on the sea. Walking the streets was like an old surrealist film; anything could be coming around the next corner, and it would be normal for that place. Eventually, though, I began to perceive a pattern; a logic to it all. But it is a old logic that is born from the jungle, and impossible to fully grasp as a westerner. For all the time I have spent in South-East Asia, there are many things that I will never understand. There is still mystery in this world, and that is the beauty of it.

This set of photographs was taken in the spring of 2011 in Thailand, Cambodia, and Java. It may be the heat of the sun through the thick air, but everything in South-East Asia seems to be amplified. There is an intense, pervasive energy of movement and spirit, and at the same time the stillness that exists there is the most striking that I've ever experienced. I was living in an empty warehouse in the Chinatown slum of Bangkok for seven months, away from all but the slightest trace of western culture that seems to have crept into most of the world.

Matthew Soltesz, a photographer and sound artist, was born and raised in rural New England. He holds a B.A. in Photography and a B.A. in Middle Eastern History from the University of New Hampshire and the School of Oriental and African Studies in London. He has spent the past seven years travelling and working in Europe, South-East Asia, and across the United States, recording sound and shooting film. He is currently based in New York area.

In order of appearance:

1. Eastbound Train, Thailand 2011 - 25x20cm/40x32cm - LTD 10 - 543!/735!2. Abandoned Railroad Station, Phnom Penh, Cambodia, 2011 - 25x20cm/40x33cm - LTD 10 - 543!/735!3. Northbound Train, Thailand 2011 - 25x25cm/40x40cm - LTD 10 - 516!/715!4. Street Dogs, Phnom Penh, Cambodia, 2011 - 25x25cm/40x40cm - LTD 10 - 516!/715!5. Selling Fish in Plastic Bags, Bandung, Java, 2011 - 25x25cm/40x40cm - LTD 10 - 516!/715!6. Traditional Medicine Shop, Isan Prov., Thailand, 2011 - 30x20cm/45x30cm - LTD 10 - 516!/711!7. Abandoned Tanker Car, Phnom Penh, Cambodia 2011 - 25x20cm/40x32cm - LTD 10 - 543!/735!8. Launching Rockets for Rain, Yesothon, Thailand, 2011 - 25x20cm/40x32cm - LTD 10 - 543!/735!

matthew soltesz

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www.msoltesz.blogspot.com

garri frischer

When Garri Frisher and her team create images, their main interest is to produce something that results not only visually pleasing, but something that hopefully

raises at the same time a thought within the observer. The ISAK series were created as

some sort of subtle gender questioning. This was achieved with the simple means of

having a masculine male model wearing soft and feminine hairdos. Nothing really over the top, just a friendly and gentle wink at

what society categorizes as feminine versus masculine, and creating with this argument

a “pleasant” tension in the imagery.

Garri Frisher (28, Gothenburg, Sweden) is involved with photography since she got her first camera at the age of fifteen, and started working with photography three years later. For two years she was assistant to Marco Grizelj and Kristian Krän at their AORTA agency (www.aorta.se). Then she went to London where she studied for three years at the University of the Arts London - London College of Fashion, and received a BA (Hons) in Fashion Photography. Worked as picture desk assistant at Wallpaper an GQ Magazines, while persevering on her own portfolio on the side. After four and a half years in London, Frisher returned to Sweden in 2010 where she got an Advertising education, and now she works as the in-house Art Director at a Swedish fashion brand.

In order of appearance:1. isak.a - 25x25in - LTD 4 - 725!2. isak.i - 25x25in - LTD 4 - 725!3. isak.k - 25x25in - LTD 4 - 725!4. isak.. - 25x25in - LTD 4 - 725!5. isak.j - 25x25in - LTD 4 - 725!6. isak.s - 25x25in - LTD 4 - 725!

garri frischer

Get a fine art print of this collection.

www.garri.se

kantfish emanuele giusto

With his images, Emanuele Giusto pursues the “more than real” concept. He regards the complex reality system as a set of unique microcosms. Werner Eisenberg’s Uncertainty Principle states that when we acquire certain information through observation, at the same time we loose unavoidably some other information, by physical law. When our attention focuses on one reality, the surroundings get inevitably more or less blurred. Giusto’s analysis is the product of his unique look, where his intuition plays a fundamental role.In his series the “more than real” concept concentrates on the burning man, the “Garden of Delights”, that huge human artwork where sixty thousands people build a town in the heart of the desert and stuff it with three hundred giant art pieces. There, new lines of logic are born and find each other, and profit from their coexistence and exchange. The world’s most incredible experimentation. For 25 years about 600.000 people took part in this “it’s not what you get, it’s what you share” participative philosophy. This concept contributes to the success of the newest mentalities, like the open source movement. Mental attitudes typical of the global and technological world where the community regards you more by what you share than by what you own.

Emanuele Giusto (Italy) is a visual artist, creative director and reporter. He creates Reports, Books and Photos for media, institutional, advertising and art contexts. He is currently based in Madrid.With KANTFISH (kantfish.com) he produces videos and animations for FAO United Nations. His articles and reports are being published in L’Espresso (Italy), El País Semanal (Spain), The Guardian (UK) and Foreign Policy (USA), and his photos are distributed by the Associated Press agency.

Books published: “Around Europe for 30 Euros” (Feltrinelli Editore) and photo-book “Angola” (Grupo Planeta).

In 2012 his photo series “Movimiento linear de salida” won the International Plastic Arts Award Obra Abierta (best images).

In order of appearance:1. Philosophy of Plato - 45x30/100x67 - LTD 15/10 - 768!/2388!2. USA. Nevada. Black Rock City. Burning - 45x30/100x67 - LTD 15/10 - 768!/2388!3. New World - 45x30/100x67 - LTD 15/10 - 768!/2388!4. Burners - 45x30/100x67 - LTD 15/10 - 768!/2388!5. Star Wars - 45x30/100x67 - LTD 15/10 - 768!/2388!6. Light Bringers - 45x30/100x67 - LTD 15/10 - 768!/2388!

More at www.imprintmgzn.com7. She, Burner - 45x30/100x67 - LTD 15/10 - 768!/2388!8. Equilibrium - 45x30/100x67 - LTD 15/10 - 768!/2388!9. Share Life - 45x30/100x67 - LTD 15/10 - 768!/2388!

kantfish emanuele giusto

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www.emanuelegiusto.com

maría mutebox

Mescaline, ou d’autres tentatives de realité.

A collaboration between artist María Mutebox and writer María Sevilla, inspired by the life and work of Francesca Woodman.

She said:

-Hi, Vince, hi –and the last hello melt away-. This is what I am. What you can´t see.

The holes are a skin of black threads with a diamond shaped reflection in the mirror. Come around, fear is a kind of resistance.

1. Slim down, mistreat your body. Massacre your skin. I want to see what´s inside. The papers fall off the wall like the change of seasons. Like a reptile, like you do.

2. The stuff should be properly exposed. The best conditions are those of a preventive asphyxia. It accidentally occurs:

-Then at one point I did not need to translate the notes. They went directly to my hands.

3. And a chunk of glass left by someone on this floor –the smell of death in our room, you know well-. In the vision, the white clothes appear tainted with ink which seems blood which seems nothing.

She shouts at herself:-I think I tried too hard to see why I do that i do- we are the walls of our dismantable home.

4. The birds experiment with you. A black coat, that´s all they see.

-I´ve turned into a tree, into a branch. I can climb. A pinhead eye waiting for the decay of the furniture, the moment when endless lightspots devastate this place. Diabolic fractals take over the plane landscape scene: where the quite blue of the sea spreads out, an odd creature dwells. Its tentacles can embrace.

-These things arrived from my grandmother: the odd geometry of time. Notebooks full of empty hulls.

Written by María Sevilla.

“Looking at myself I see me grow.

Addicted to women and our fight, to addictions. Addicted to the ego, others and mine.

Rendered to ink, titanium and surgical steel, perforations, experiments. Experiment with my own body to create my own work, my own destruction, and carefully I observe the creation of others, the future of smoky waves that explode and burn, without a trace, only to learn. Lilith’s daughter, I take my sin, I like it, I believe in my life. I enjoy art, bodies, feelings, and the possibility to take them up to the maximal hedonistic height, evasive, and at the moment ... continuously lost.

Every night inhaling a torn combination of notes, books and pictures.”

by María Mutebox

Mescaline, ou d’autres tentatives de realité.

“Looking at myself I can see how I continue to grow. Don’t know whereto, but always surrounded by physical and visual stuff. Elements who enable me to blow out my ideas and to make them come true, into something that can arouse the primitive instincts of a beholder, and not a passive one as I see it. Interact, with myself, with you, with a crowd. Interact and transmit, virally, my passion for visual addictions.

Wearing Sylvia Plath’s words “your limitations will crucify you”, I’m just trying to defeat every limitation that shows up in front of me, and do it in the most visceral way possible, spitting out my art. Can’t do it any other way.

With my brain always crowded with sentences and images accompanying each other, and they splinter, unite, merge, inhale. Who am I? Really, I don’t know how to describe myself. Photography has been my escape, sort of therapy, introspection. Art, which I suckle since birth, gave me a new birth. I created an identity. An identity within its own world of still and ethereal images.

María Mutebox (1988, Segovia, Spain) has been exploring artistic imaging for years from a great variety of perspectives. She studied Audio-Visual Communication, only to understand images are her true passion. Studied Fashion Photography at the Instituto Europeo di Design to organize her photographic self-tuition, always chemical till then. Today she’s a Fine Arts student, unhurried, exploring all available techniques. María intermingles always literature with her activities, and even more so with her photography. With a camera at her fingertips all the time, she got to work for the film industry, to exhibit, to carry out cooperative projects with other artists, from all scopes and countries. She is currently based in Madrid and investigating her new passion: ink and tattoo art.

As someone observes my photos I’m getting naked, beyond my skin. The tattoo on that skin fills me, helps me to give reality back to images that sometimes turn out too dreamy and loose their meaning. Hence I’ve chosen a word like mescaline to straighten all this out. I need to create as much as to breath. And I see far too complicated to decide right now where my work is going to. Fetishist of light, of the erotism of shapes, of the sensuality of motion, of the punctum of a look. As a material Diogenes, I recycle all that’s around me, including myself. As an emotional Diogenes, I’m a sentimental bulimic. Every single piece I produce is an expulsion of all that hurts or thrills me. Transforming it into beauty fascinates me. The beauty of the disobedience of my feelings.”

maría muteboxIn order of appearance:1. Mescaline VII - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline V - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline I - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline II - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline VI - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline IV - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline VIII - 30x30cm/50x50cm - LTD 7/7 - 582!/610!1. Mescaline III - 30x30cm/50x50cm - LTD 7/7 - 582!/610!

Get a fine art print of this collection.

muteboxphotography.tumblr.com

dequiciario.blogspot.com

defotomeisjes

Event photographers extraordinaire. A better description of De Fotomeisjes is almost unlikely. This dutch collective of six young female photographers is notorious for their unique ability to reproduce in their images the very best moments of every situation. They go out, blend in and capture great moments, emotions and atmosphere. Their core business is producing journalistic reports of events in the broadest sense of the word. In fact they reshape every assignment into a great visual story. Born out of the baffling fact that people always feel the need to pose and smile as soon as there’s a camera in sight. Born out of their love for the moment. The spontaneity of their images makes humanity so much fun. The vivid colors and the dynamics are characteristics of their work, with an obvious mystique that creates a first-class souvenir in each photo.

de fotomeisjesIn order of appearance:1. DeFotomeisjes 5 - 9x6in/18x12in - LTD 100 - 450!/455!2. DeFotomeisjes 4 - 12x8in - LTD 100 - 450!3. Defotomeisjes 7 - 12x8in - LTD - 450!4. DeFotomeisjes 1 - 6x6in/10x10in - LTD 100 - 450!/450!5. DeFotomeisjes 6 - 7x5in/12x8in - LTD 100 - 450!/450!6. DeFotomeisjes 3 - 12x8in - LTD 100 - 450!7. DeFotomeisjes 2 - 9x6in - LTD 100 - 450!

Get a fine art print of this collection.

www.defotomeisjes.nl

pablo lópez jordan

“Pure Fiction” is the first photo-series created by Pablo López Jordán for exhibition, and is build up by twelve black and white digital compositions. The series explores the movement, the shape and the dimensions of the body. His inspiration procedes from the “ufo culture”, a social movement from the sixties and seventies, based on the beliefs of “afterlife” and alien reality, a source of phony and bogus photos, like the fake one on the “I want to believe” poster. His aesthetics recall x-rays images, evolving into animal or alien shapes, with a few surrealist strokes, and exploring the multiple dimensions theories via his photographic art. The series show a chronological account of rescue and ascension up to the “afterlife” where the body gets transformed and freed. Pablo mixes reality and fiction using a moderately purist technique, and only a few of his images were retouched digitally.

Pablo López Jordán (1978, Spain) is an audio-visual artist from Murcia, and a photographer by inheritance. He holds a degree in Communication Sciences and his work embraces video-art, video-poetry, sound art, sound installation and live installation, exploring the creative improvisation, asynchrony and error to analyze nature and human perception from a social and emotional point of view. Member of the artistic network [aadk] Aktuelle Architektur der Kultur. Exhibits: Empire Gallery (London), 10 Gales Art Gallery (London), Espacio Cultural (Bilbao), Contemporary Art Museum (Istambul), and Centro Negro (Murcia).

Abraham Hurtado (1972, Murcia) is a spanish performer and visual artist who lives and works in Berlin since 2005. He has collaborated with numerous artists and companies at national and international level. (www.abrahamhurtado.com).

pablo lópez jordanIn order of appearance:1. Flying Form 1 - 21x7cm - LTD 30 - 455!2. Ente - 30x24cm - LTD 30 - 455!3. Flying Form 3 - 14x18cm - LTD 30 - 455!4. Portrait 02 - 30x22cm - LTD 30 - 455!5. We are here - 48x23cm - LTD 30 - 460!6. Landing - 18x18cm - LTD 30 - 455!

More at www.imprintmgzn.com7. Space Wasp - 25x20cm - LTD 30 - 455!8. Portrait 01 - 12x17cm - LTD 30 - 455!9. One Dimension Ente - 21x15cm - LTD 30 - 455!10.Flying Form 2 - 19x20cm - LTD 30 - 455!

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©2013 - All rights reserved. This magazine or parts of it may not be reproduced without written permission from the publisher, the photographers or the authors. A great care has been taken to present the information in imprintMGZN as accurately as possible. Neither the publisher nor the authors can be held responsible for any damage that may result from the use of that information.

Special Thanks toKristian Fenaux

Paul van der PlasChris MonaghanNacho Arimany

Hélène PicardElizabeth Martirena

Hub AmsterdamMediamatic.net

UnHate FoundationAlternatief Kostuum

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imPrintMGZNIssue No.1Sally FenauxAgata SergeSonia Jeunet

Text editionTranslationKristian Fenaux

Contacthello@imprintmgzn.comimprintmgzn.com

Published byKpublishers

No.2A refreshing second issue will be out May 1st with the work of Bárbara Vidal among others.

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