Agata Cardoso’s photographs hold back nothing and, therefore, shock. This shock is not, however, the sort that gets people going, excites them, or makes them feel they’ve found something new, cool. Rather, it seems to scare, to upset; there is nothing artificial, no distractions from the subject matter. Just images that depict darkness and violence.
Young Greek photographer Iliana Kanellopoulou says ‘guns are for women too.’ Against the backdrop of the anti-austerity protests in Athens, influenced by images of female Kurdish fighters, Iliana wants to photograph a ‘fictional feminist army’. She’s teaming up with other female photographers to create a photo-pamphlet filled with different visions of what this might look like.
LYRA, obviously, knows how useful, and liberating, it can be to crowd fund. So we’re very interested in other creative ventures that choose this path, especially if they’ve similar interests to us. We heard about the efforts of Georgia Oakley to raise funds for a short film about women shot by a completely female team, and asked Georgia to write something about the film, and her decision to rely on the crowd.
Jocelyn’s Allen’s self-portraiture explores, with poise, the blurred borders between self-exposure, exploration and protection. We present photos from two of her recent collections, Covering the Carpet (2014) and Amalgamated Anomalies (2014-15). Read more
Just over two weeks ago LYRA’s team, our friend and the magazine’s supporters gathered at Vout-O-Reenees – a members club in Whitechapel, of all places! – to get drunk, give drunken speeches and drunkenly show our magazine to the world.
We spoke to issue one contributor Sivan Lavie about her work, childishness and outsider art.
Though we completed our Kickstarter campaign (thank you everyone!) we feel our video presents the ideas behind LYRA so beautifully that it should be available on our blog! You can buy the first issue of LYRA here.
Our memory of shooting the video is a mixed one. On the one hand, we exceptionally lucky to work with the amazing Giorgio Bosisio, on the other hand we completely melted on camera, and had to be coaxed back into making sense. By the end of our twelve hour day, in which we also filmed Irma Kurtz, we could barely speak, and were both utterly sick of, well, everything. We will never forget the hilarity of Giorgio making Jago repeat a middle-length sentence twenty or so times.
Andre Viking is a Danish visual artist currently living and working in Copenhagen. He describes his work as ‘photography created in different ways to keep me exploring the medium’ and told us that he’s ‘investigating things that come from something personal but that I hope to be universal.’
He describes his ongoing project Drink Deep or Taste Not as ‘an investigation of my senses photographed in a virile manner. The photographs are made in a very intuitively way and somehow work as diary of things I’ve seen and felt a need to photograph without analysing or adjusting too much beforehand. In this way of working, with a simple pocket camera, the editing is the part of my process where I make sense and take important decisions. It’s where everything comes together, and the photographs begin to ask the questions I’m interested in as a group.
The title is inspired by Greek mythology: “A little learning is a dang’rous thing; drink deep, or taste not the Pierian spring,” The Pierian spring being a metaphorical source of knowledge of art and science. I like the title because it works for me in different ways – in a sensual and straightforward way but also in a more poetic way knowing way, where the sentence is derived from.
The work is a never-ending project that I one-day hope to make into a book.’
Zoe Dzunko is an Australian poet and editor of the Powder Keg, an online poetry journal; two of her poems (Sand Under Nails and Fake Flowers Last Forever) were published in LYRA’s first issue. Zoe is always wonderfully generous in correspondence, and interesting too. Below is a beautiful, honest interview.
Jago: When did you start writing poetry, and why?
Zoe: I always find this question difficult to answer because I don’t feel as though I had a definitive ‘poetry moment’ – there was no big revelation. I didn’t, like, stumble across Rimbaud and in that instant find a new world had opened up to me. My induction into poetry was a much subtler and more protracted process. It has been present for a long time, sharing space with other interests pursued with more fervor and, only now, after those fascinations have waned, can I see that poetry has been the one constant of my life to date.
The above is an excerpt from Jessica Worden’s These Lungs, which she describes as “a piece of experimental writing from 2015 that explores desire as a landscape of surfaces. Bodies become sensations, textures and layers that the eyes move across, following the juxtaposition of the two shifting columns of text. The piece proposes a queer model of desire that values fricative and sensate surfaces over penetration.”