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This is This and This is This

Hey!

Happy New Year.

Here are some things:

This is some snow. This is a book at the presses. These are the first dummy tests for the "dislocate" books. This is a good whiskey (after having a few). This is some more work done on the "yakuza" solo exhibit in april. And these are flowers for my mother.

....and there's much more to come.

2013 is going to be a good year, I'm sure of it. For all of us... it has to be. My best wishes to each and every one of you... and see you soon.

a

Ten images that didn't make it into YAKUZA

Sorry that I've been gone for a while... it's the first time in years that I've been able to relax my mind a couple of weeks, and in hindsight it has been necessary: I've been able to take some much needed important decisions, decisions that have been delayed and delayed even without me realizing it, and with a relaxed mind have come to surface and have been easier to contemplate... And of course I've started preparing for the fall when things will get up to full speed again with many especially exciting new things that I want to tell you all about, not only things related to the Yakuza project. More on all this soon...

In the meantime, I thought this one would be fun: the ten images that most narrowly did not make it into the ODO YAKUZA TOKYO book.

anton kusters - odo yakuza tokyo - just didn't make it

The story goes as follows: during any book design process, one has to be prepared to meet unexpected circumstances, and it's not uncommon that even at the last instant, things can change completely. In my case, my - what I (and the printer) thought was the - definitive book edit had always been 98 spreads with images, plus 6 spreads for the chapters (plus pages for text at the beginning and the end).

And then it happened. Right at the very last second, when the printer was making the final impositioning for the plates, we both noticed we had made a major calculation error in the book. I had designed part of one book section too many. Simple page count error. Basic rookie mistake. I've been professionally designing books for years, how could this have happened. This could turn out to be a disaster.... because this meant, that in effect, I would have to cut images from the book, and I had to cut them fast. There was simply no choice. The only other option would be to literally stop the printing and re-think the whole book paper, cover, book thickness, weight, binding,... not to mention the extra costs involved... and to delay the book launch by several months.

So I chose to push ahead. Cut the images. And what could have easily become a disaster, in hindsight, actually turned out to be something good. For some reason, I was able to identify the images that had to go, very quickly... having spent months with the edit, somehow it appeared clear in my mind what had to be done. And indeed, leaving those images out, turned out to make a stronger edit.

Of course, after cutting the images, I had to re-look and re-do the entire sequencing, and this in turn leading yet again to be forced to drop out another couple of images. Damn. In total, I decided cut exactly 10 images and changed the sequencing, dividing into more (but smaller) chapters... extremely tense moments I can tell you, especially because I think I only had 2 hours to complete the job, prepare a new hi res pdf and deliver it. The presses were ready to go. And you don't ever want the presses to be waiting for you, trust me.

Even with the pressure looming over me, I still recall those two hours as something extremely positive, as very exciting, as an opportunity to make the book better still. I'm so glad I didn't choke and pull the plug. It was like someone had whispered in my ear: "Anton, you now have 2 hours to make your book better, and it's your last chance... go for it".

Judge for yourself... what do you think of these 10 that didn't make the cut? I know showing them out of their original sequence is not ideal, but I hope it'll work.

anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it
anton kusters - odo yakuza tokyo - just didn't make it

have a great summer all, and more soon, I promise!

a

YAKUZA exhibit in C-mine, Genk (BE) - 2013

YAKUZA exhibit in C-mine - Genk (BE) - 2013 So here is the big news... my first YAKUZA solo exhibit has just been confirmed for spring 2013.

And it's one hell of a unique location... the former Winterslag coal mine now-converted-to-cool-cultural-centre C-mine... A long time ago, this was also the coal mine my late grandfather and godfather (not Antoine, but Bert) worked in.

I now have exactly 11 months to prepare. It seems like a long time, but in reality it's not.... I'll be drawing concepts, making scale models, test prints, paper types, and sketching like hell. And the edit and sequencing of course will be crucial... and the production of the artwork itself will take several months... not to mention producing the installation itself.

I think I've got some cool things in mind as to how I'd like to approach this, and the next conversations with C-mine will determine the feasibility of what's inside my head. They loved the initial concept, so hopefully it'll work out the way I'm envisioning it.

I'll be talking about every step of the way right here, building the concept online, and letting it grow from idea to sketch to model to reality... a careful deliberate journey, and hopefully mucho fun!

I just visited the location, and I've got a whopping 450 m2 (about 1,500 sq ft) at my disposal.

really excited...

 

a

 

I was a Dog (exhibit)

A quickie. I was recently asked to join a collective exhibit of former students at the photography academy of my home town. I was honored of course, but as I couldn't show work from the Yakuza project (someone else has got dibs on that biggie - I'll reveal very very soon :) I opted for an edit of images from my Mexico work in 2008.

Six images from a chapter titled "I was a Dog", part of Dislocate, the broader story in which I try to come to terms with my feelings of being uprooted.

The hardest part for me is always how to visualize the reality of the printed image in a given exhibit space, and depending on that, to try and make the best possible choices: which image edit, which size, to make an accompanying edition or not, and how to present the images. A good way for me to help visualize is that I not only make a simple sketch of the space and add the work into it, but that I also add silhouettes of people at the correct relative sizes. This never fails to amaze me, and always proves to be very helpful. Bigger is most definitely not always better.

For this exhibit, I had available 3 large panels of 2,5x3m (8x10ft) each, white, both sides usable.

Anton Kusters - "I was a Dog" - SASK Hasselt - setup 01

Anton Kusters - "I was a Dog" - SASK Hasselt - setup 01

Anton Kusters - "I was a Dog" - SASK Hasselt - setup 02
Anton Kusters - "I was a Dog" - SASK Hasselt - setup 02

As you can see by the relative size to the silhouettes and the panels, in this case, the prints should be quite large, 44" high by almost 70" wide.

If I would've printed a test image at this size without having made the sketch first, I would've most certainly opted for much smaller prints, because, right now, drying on my table at home, they seem way too large:

I was a Dog - image of print
I was a Dog - image of print

Presentation-wise, I'm going for a "bare bones" approach, hanging the prints with two steel clamps directly on the paper, without any framing or glass or filter at all. Light prints, heavy content. I hope it'll work out.

How on earth I'm going to transport these beasts to the venue next week is a mystery to me.

And I've beent told that any exhibit is prone to last minute changes because of many unforeseen/practical circumstances... e.g. what if there are only two panels available instead of three, or they cannot be setup side by side...

So I might have to adapt on the spot.

Makes it all the more exciting me says. Fingers crossed.

Cheers,

anton

More exhibit info on the website of the Academy of Fine Arts of Hasselt (in Dutch).

Meet Gaston | The Blue Skies Project

Meet my late grandfather, Antoine Libens. Alfons Libens & Jeanne Degros were his parents. But everyone called him Gaston. Gaston is the reason that I 'm starting my next long term project: The Blue Skies Project.

The Blue Skies Project will become a personal journey, me trying to make sense of something unimaginable. Something unspeakable. Something that took place in Europe 70 years ago, before I was born.

I feel the need to personally understand and place the huge and unimaginable injustice done to so many millions during the years of the Holocaust. A darkest page in human history, yet a page never to be forgotten.

---

It all started with my grandfather during WWII, when he was a geography student at the Catholic University of Louvain, Belgium.

gaston-libens_P1020863

One night, when Gaston was home asleep, Nazi soldiers raided the house. In the middle of the night they banged the door and forced their way in. His mother woke up from the noise and pushed him out of bed and out the bedroom window onto the flat roof. The soldiers were on a mission to round up and deport all university students who were member of a certain fraternity, with members active in the resistance.

It didn't take long before the soldiers entered Gaston's bedroom. Though it appeared as if the bed was unslept in, one of the soldiers felt the warm mattress and deducted that he must be hiding somewhere in the immediate surroundings. Outside in the meantime, Gaston had been unable to find a hiding place on the flat roof, the only thing in the nearby being a glass dome shaped window in the roof, behind which he desperately tried to tuck himself away as much as he could. One of the young German soldiers, about the same age as him, opened the bedroom window and climbed out onto the roof.

It was impossible not to spot my grandfather.

And indeed he did. My grandfather peering through the glass, acutely aware that he could as well just be standing up and in plain sight, and the German soldier looking straight back at him. Then It happens. They lock eyes for an instant. Both men in their late teens. Both men black hair. Both men look at each other for an eternity, in which they seem to realize something more, something bigger than that wretched war.

The soldier steps back inside saying "Nein, er ist hier nicht."... the cue for my grandfather to make a run for it. Over different roofs, several houses down the road where he jumps off into a courtyard.

Unfortunately Gaston jumps straight into a dog pen, waking up the dog who starts to bark loudly. It's about 2am now. Gaston frantically tries to keep the dog quiet, eventually succeeds, and stays in the pen literally for several hours, waiting. Hours later, he climbs out of the pen. As he walks back to his house, at the end of the street around the corner, he suddenly gets pulled into a house by one of his neighbors... a woman suspected to be collaborating with Nazi Germany. She pulls him into her house, whispering "Antoine! Hide here, wait, they're still staking out your house waiting for you to return...".

---

My grandfather's life got saved twice that night. And by two of the most unlikely people to do so.

A tiny story of hope in what were the darkest of days for millions.

(From that moment onwards, everywhere my grandfather went, he was always shown a secret escape route or hiding place... everyone in town and at the university knew they were after him, and all worked together to keep him safe. In the end, he survived the war not being deported.)

---

I'll be going into detail as to what I intend to do and how I intend to do it, and seek your wisest advice... I'm full on in the research phase now... the photography, the concept, the reason for the title, what I hope to achieve, my fears and aspirations, my sadness, my journey, hopefully my determination to be able to finish this project as i envision it, as that is what I fear the most: emotionally, this might just actually weigh too much upon my shoulders...

I have no answers. But maybe, just maybe, I could provoke good thought.

Lest we never forget.

a

The YAKUZA 2nd edition book cover

ODO YAKUZA TOKYO - second edition - cover Surprise! For those of you who ordered the second edition of YAKUZA, I present you with the new cover image. I hope you like it...

The inside of this second edition is the same as the sold out limited edition... but the last image, binding, chapter paper and cover are different. Read more about that here.

Exciting... In about ten days the second edition will be stitched and bound, the cover attached, and all the books will be individually shrinkwrapped, ready to be packed and shipped.

And so the distribution begins... I'm really really looking forward to it, and at the same time I'm a little scared of this first massive shipment of books I'm going to fulfill during the first week of November. Am I logistically even going to be able to handle it?

Fingers crossed.

Looking forward to the smell of books filling up my house again.

Have a great day today,

a

 

PS. Oh, and if you haven't bought a book yet, now is really the time to do so... just click the green button here to your left... I need your support... I promise, you'll not be disappointed!

 

ODO YAKUZA TOKYO - second edition - cover

ODO YAKUZA TOKYO (limited edition)

Finally.... it's here! The book ODO YAKUZA TOKYO.... Over on BURN Magazine there's a great interview by David Alan Harvey with me about the new book... and obviously you can buy it there. Please do so... it's a beautiful object... and limited to only 500 numbered copies...

Below an excerpt from the introductory text:

In the hotel bar in Niigata, I’m only slowly starting to understand the extremely subtle social interaction that is continuously happening; the micro-expressions on the faces, the gestures, the voices and intonations, the body language...

As the bar is being evacuated to make room for the godfather having a coffee, everything seems to be strictly organized but at the same time seems to come naturally: strange, I don’t need anyone to tell me what to do, where to sit, when to talk or when to shut up. It’s like I literally feel the boundaries, the implicit expectations, and I’m slowly learning when I can move forward, and when to best hold back.

Sitting at the table with a bodyguard looking straight through me, I drink my iced coffee. I’m feeling the acute sensation of walking on eggshells.

---

So yes, I feel a little like I took a step forward... printed and bound exactly like I envisioned it, a limited edition of 500 copies, soft cover, Japanese paper,... in my eyes, it has it all.

I sold 8 out of 10 copies at LOOK3 festival a few days ago, and was humbled by the amazing response. To watch someone looking through your book is something that completes the circle for me...

So go ahead, buy a copy, you will not be disappointed... and you will be supporting me to continue my work. Shipping starts on July 1st. My first task, tomorrow, is going to Japan with 10 books as a gift to the family bosses. Presented to them by me and my brother Malik with a little ceremony.

Fingers crossed.

Oh, and by the way.... today is my birthday.... some lucky coincidence.

[ NOTE: as of July 21 2011, this limited edition is sold out. You can direct any inquiries about this limited edition to me directly. There is a second edition of this book available; for more information and to buy the second edition, look here. ]

893 Magazine issue #2 | a potential cover design

So I've started working on the second issue of 893 Magazine (more about the first issue here). A bit of a delay compared to what I had hoped, but some (good) unexpected things did come up that warranted this... Not in the least winning the Blurb Photography Book Now prize for Editorial... and some other ultra mega cool things that I'll hopefully be able to tell about very soon. But I've started. No turning back. And no matter how excited I am to share new stories and images, the beginning of a next magazine issue always feels like an insurmountable task. I have up to 44 blank spreads to fill with new content: writing, images, and design. And to top it off, it all has to make sense :-/The hardest part for me is always the writing... I have to get in a certain kind of mood to be able to write the stories I want to tell, and that, up till now, has always proven to be very very difficult. Much harder than editing images or designing or printing dummies. Sometimes I wish I could go and sit in a cabin in the woods for a month and get it over with and write all the stories that need to be written, but part of me knows that doing that is not a realistic endeavor... I just have to stay home, switch off all communications, fire op WriteRoom, and face that horrible empty page. Yikes.

Screenshot of a writer's block

Screenshot of a writer's block

And as if that weren't hard enough, today it also occurred to me that for some reason it seems like I used up all my good images for the first 893 Magazine issue, and don't have any left for this one... The law of diminishing returns truly seems to be setting in here... Yikes again! Apparently this is supposed to be absolutely normal in long term photographic projects, even up to the point that one can go months without making a single good image, so now I find myself clinging to that thought. It's another hurdle to face. But I guess that's just part of the editing process, I'm expecting it to eventually fall into place. (Ahem.) --- I'm told there's nothing better to get you going than putting something out there; showing that you have started. Even if it proves to be the wrong choice in the long term, at least you've started... at least you've done something... at least you've set yourself a bar to raise. So without further ado, I present to you the next issue cover of 893 Magazine.... or what I think it should be. I might change my mind tomorrow, in five minutes, or maybe even not at all. But at least you'll have seen this cover, super intelligently called "893 Mag issue #2 potential cover version 1 - the stare":

893 Magazine - Issue #2 - cover test

893 Magazine - Issue #2 - cover test

Something that's running circles inside my head is if I would keep exactly the same format (paper size, printer, etc) as issue #1, or go for something different. Right now I'm thinking it might be cool to have a second and first issue that fit together. I'd really love to do different formats and sizes and papers and bindings and so much more, but I'm coming to realize that I'll have to choose just one. At least for the magazine... For the actual "893-Yakuza" book, I feel i should take the "full control" route, working directly with an excellent printer, so I can also be in on the paper choice, binding, size, etc. More info on that particular subject coming this spring. --- Yum. It's nice to be looking forward. Hope it all works out. Will honestly need everyone's support to deliver.

Have a great 2011 everyone. a