When we say “Hyères” we often mean “the fashion and photography festival” organized by the Villa Noailles.
But we shouldn’t.
Because for the last 7 years, there’s been another “Hyères” in Hyères :
10 young design-ers, eye-popping exhibitions dedicated to furniture and industrial design, a special focus on the art brought back by the Noailles’ African expeditions in the 30’s, and already a spin-off event, Tapis Parade (Carpet Parade).
Design Parade 7.
«Dege» Mask, Dogon, collected at Opti, Mali, in 1931, 'bois de tage', Musée du quai Branly.
TAPIS PARADE - Anémones Jekyll, François Dumas, La Chance.
Planet Earth is at the center of an observable universe with a 13.7 billion light year radius. Just so you get an idea of what that means, the Moon is only 0.0000000406 light years away (about 357,000km, if that makes it any easier). Paul Klauninger is an astrophotographer who captures some of the beauties of our galaxy, and has been doing so for over 20 years.
Astrophotography remains one of the most complicated forms of photography, but with today’s technology we get images not even Galileo or Newton would have even dreamt of. The Stimuleye catches up with Paul to get a better understanding on this ancient fascination for the Cosmos.
M45 - Pleiades Star Cluster. Photography by Paul Klauninger.
Miguel Batel: You must be happy winter is over. Last time we went out to the field must have been one of the coldest experiences I’ve ever had.
Paul Klauninger: I have mixed feelings about the winter really. While it can be very challenging to operate your equipment (and your fingers, for that matter) when it is –20o C, there are also a number of benefits. In the winter, the nights are much longer than the summer, so you can do much longer observing and imaging sessions. Also, the air tends to be cleaner, containing less dust and water vapour. That makes it better for imaging. And in the winter, you see a different part of the sky than in the summer, so you can see a completely different collection of celestial wonders. Finally, there are no mosquitoes or black flies in the winter, and that’s always a good thing.
MB: Being mostly subjects you can’t appreciate with your naked eye, or directly interact with, I’m curious to know what kind of emotional attachments you develop with your photographs?
PK: I guess my images are like a photo album of travel pictures, in that they remind me of places that I have visited. While it is true that most of the imaging subjects cannot be seen with the naked eye, my telescopes do in fact, allow me to see these without a camera.
When I look through a telescope at a nebula or galaxy that is thousands or millions of light-years away, I can’t help but wonder about other Earth-like planets in those places, and the potential for other advanced civilizations like our own. And when I see the images I’ve taken of those same places, they remind me of just how much more is out there that our limited vision cannot detect directly.
MB: Which have been some of your most significant or revealing photographs?
PK: One of my most favorite “revealing” images is one I took of the Pleiades star cluster. This is an object that you actually can see with the naked eye. It appears as a small dipper-like formation of seven very bright stars, just to the right of Orion. Not only does the image show these seven stars as brilliant blue beacons in the night, it shows hundreds of surrounding, lesser stars that are also part of that cluster. And the entire collection is wrapped in an ethereal, misty blue nebula. Photographically, it’s just a strikingly beautiful object.
Another favorite is actually a series of images that I took over a span of a few months of a very odd object in our solar system named Comet Holmes. Back in 2007, this dim, obscure little comet suddenly and explosively erupted. In a matter of 24 hours, its brightness increased by a million-fold and it easily became a naked-eye object. Before that, you would have needed a large telescope and sensitive camera to even capture it as dim speck of light. In the weeks after its eruption, it continued to expand and grow until it appeared larger than the full Moon, although nowhere near as bright. However, you could easily see this object as large round fuzzy patch in the sky. It wandered around the sky like that for months, until it gradually faded. I captured a series of images over that time period that nicely shows its growth and evolution. To this day, no one knows what caused this comet to erupt as it did.
Horsehead and Flame Nebulae. Photography by Paul Klauninger.
That’s not really the first thing that comes to mind when you think about Japanese designer Yohji Yamamoto.
Film costume designer, Hyères jury president, Y-3 sportswear line creator, musician and soon film director, not to mention one of the people who revolutionized fashion aesthetics, Yamamoto has done his share.
I had the pleasure of spending an evening backstage at his fashion show to get an exclusive peek for the new Joyce.com website.
Antoine Asseraf for Joyce.com, interview by Lucienne Leung.
In Carlo Collodi’s 1883 children’s novel “The Adventures of Pinocchio” it is the wooden puppet that possesses sentience prior to its transformation; it is the puppet and not its creator, the woodcarver who triggers the miracle of the doll coming alive.
With François one never knows who pulls the strings. It is him who invokes the sentiment for a story to become alive. Yet he hands himself over unconditionally to his collaborators, like an “instrument to be played”, as he likes to call it.
Film director Christopher Honoré once expressed that François Sagat “redefines the notion of masculinity”. François, the humble boy from Cognac has moulded himself to unattainable iconic status. Gilded with his blue inked crane, he is to conquer his righteous spot in the pantheon of pop culture…
"François Sagat with Apple" Exhibition SPECTRE, Hyères 2010. Photography by René Habermacher
René Habermacher : you recently played alongside Chiara Mastroianni in HOMME AU BAIN by Christophe Honoré, and as well the lead in Bruce LaBruce L.A. ZOMBIE – how were your experiences?
François Sagat: L.A ZOMBIE was an experience which had very little to do with HOMME AU BAIN… The shoot for LA ZOMBIE was like a real porno shoot, scene by scene, it was mostly fucking, except that of course the porno version was censored for festivals…Beyond the sex scenes, LA ZOMBIE was a chaotic shoot, without a script, hasardous… but I’m still to this day satisfied with this participation and collaboration with Bruce LaBruce, from whom I still have much to learn, and who possesses a huge cinema and litterary culture… Despite what his critics say, I think Bruce has a real style.
During the shoot I really tested my capacity to resist “obstacles”, it was at times very difficult, I didn’t know where I was going, no direction, it was like being thrown in the lion’s den.
There was no script, the storytelling was weak and the whole plan was turned on its head by last minute changes and many cancelations, but that can be said about a lot of “cinema” projects.
L'HOMME AU BAIN by Christophe Honoré, starring Chiara Mastroianni and François Sagat.
Regarding HOMME AU BAIN, the shooting was a lot more structured, but energetic nevertheless. It’s on this project that I realized that my abilities as an actor were limited, weak even, and felt like I was a big challenge for Christophe Honoré because of my “heavy” image, of the luggage I was carrying.
There were moments when I thought I terrified him, being everything except malleable. The project was constantly evolving due to the fact that we had planned it as a short, and that a lot of questions arose towards the end of shooting. It was finally released as a full feature film, and I have the feeling it wasn’t the right place for the film.
It was an intimate project which to me, with hindsight, would have had a strong impact as a short. But I am neither director nor the creator of my own character. Rather than control the situation, I felt the blowback. But surely the imperfection of the final result makes it a real film, that can be remarked and criticized. I chose to shoot it and live the collaboration for the moment rather than think of the finished product.
François Sagat for QVEST magazine. Photography by René Habermacher.
What is the difference to you between acting in a porn movie or a feature film?
The difference ? Of course there are differences.
When you’re a porno actor, you’re in constant control of your carnal envelope and your physical aspect, whether you learn it or you have it from the start.
I didn’t know it as first but I am someone who has that ability. Porn is often an activity for people who are shy orally.
As a performer, you never really have to carry the more or less artistic responsabilities of a porn film, because there is no artistic issue to start with. You just have to be a good soldier fitting what the consumer desires to watch and what the production has decided, and that’s it.
I think also that I am someone who’s very sexual and exhibitiionist, but that’s not really giving you a scoop. Porn is like military service, it’s “my way or the highway”, and in my case, I’ve been and continue to be a good soldier.
The main difference is that you need a capacity to adapt and to lose who you really are, physically as well as morally. I created for myself a character in porn as in life, it’s difficult to let it go.
Video still from PILORI installation by Lynsey Peisinger & The Stimuleye. Villa Noailles, Hyères 2012.