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Summer camp with Machiel Botman

When:
17 June 2013 @ 08:00 – 23 June 2013 @ 11:30
2013-06-17T08:00:00+02:00
2013-06-23T11:30:00+02:00
Where:
Camping Le Fontanelle
16028 Rovegno GE
Italia
Cost:
850€/800€ including accomodation
Contact:
Giulia Zorzi o Flavio Franzoni
02 4548 1569 o +39 335 405845

This post is also available in: Ita

Emu dummie 1994, for Rainchild

Emu dummie 1994, for Rainchild

SUMMER CAMP IN THE TREBBIA VALLEY
THE PHOTOGRAPHIC BOOKDUMMY
a workshop with MACHIEL BOTMAN
June 17-23, 2013

There are small prints on the table, we’re all looking at them. I have this feeling of a spotlight on this scene, on all of us and I no longer hear our voices. Our faces look like white patches in a dark forest, moving slightly, expressing something about the picture on the table. One says the photos are sad. Another says we’re past the time that each image must be happy. And someone else says the images are just real. I want to leave this path of seriousness. They are only pieces of paper we’re looking at. I also like a lot the silence that has now taken over and I wonder if we are all seeing different photos. Someone asks what can we do with these photos? Good question

Machiel Botman, editing during the workshop

Machiel Botman, editing during the workshop

This workshop is about creating clarity. In photographs and in what we can do with them, on a table, on the wall, in books particularly. The workshop’s aim is to help you understand different ways to make a book with your photographs.

Should we think it all out? The idea, the images, the sequencing, the layout, the size. And should we have all the photographs taken before beginning work on a book? I am not so sure about this. Never have been. So I prefer to play and make bookdummies. I like being unsure, and even insecure, about what it is I am trying to give shape. Instead of mapping it all out, I prefer to give myself something I can hold in my hands and to let that talk to me. To show me what the object in my hands and turning its pages do to me. Do I feel an emotion, does it make any sense? I never know the answers right away. But after time passes, a night, some days, weeks . . . yes, then it will come to me. Not everything at once, but always enough to be sure about the next step. That can be about a lacking photograph, or a mistake I made in thinking. It can also be about how it works best: does the emotion work best with an emotional layout, or should I hold back and be precise rather than overwhelming. Should the images talk to each other on the spreads, or should it be a single image adventure?

We make so few books in our life, the process of creating them may as well teach us something. Or, if we are not honest and still make the book, we will be reminded of it the rest of our life. This is what books do, they live on. Then, think of this: if the process really does teach you something, and if you take enough time, then your book may be satisfactory in the end. Things may fall into place, perhaps the things your mind could never have conceived.

I would like this week to play a part in all this. It does not matter if you are at the start of something, or not even that. Or, perhaps you come with a project and dummy that seems finished to you. You bring along your ideas, your small prints, a portfolio, whatever. Writing, sketches, a box filled with small prints . . . You can use the week to make a dummie. But think in terms of a rough dummy, more like a sketch. We don’t want to spend all our time making beautiful prints. From what you bring we should be able to do different things: sequencing and editing (trying to make some sense), decide on what kind of an object this dummie can be, work on covers and print out layout possibilities.

— Before you put any prints on the table, or show any bookdummy, you should be able to give us an idea about what you want your book to be like. In fact we should all close our eyes, you included, and we listen to you until we have a pretty good idea what your book will be —

Machiel Botman

YOGA with MAGDA GIACOPINI

Machiel Botman’s photography workshop will be accompanied by Daoyin yoga sessions held by Magda Giacopini
Daoyin yoga is a traditional chinese discipline, based on taoists theories of health and well being. Through this practice your internal energy, called qi, is stimulated, so that it can flow freely through the body, also awakening your creative self.
Combining simple breathing tecniques with basic postures, daoyin yoga helps develop  balance and posture, while joints and muscles become stronger and more flexible.
Thanks to its meditative character, a constant practice helps improve your ability to concentrate.

when: June 17 to 23, 2013

where: val Trebbia. The village is called Rovegno and is not far from Genova.
We will be staying at this camping, in the bungalows:
http://www.campeggiofontanelle.it
why: this place is very special for us and we decided to bring there a selection of the best workshops made at micamera, for an extended version. In fact, this is the place where the idea of micamera was conceived. A very inspiring location. Even Hemingway, who discovered the valley 1945 as a war correspondent, declared that it was the most beautiful valley in the world. The wonderful river and surrounding nature, the signs of Hannibal – for instance in the names of various small villages, or the abandoned fascist colony…
We rent a former disco for the whole week, and this is where the lessons will take place. The windows facing the woods, it is a perfect place for our lessons.
how many: maximum 13 students
how much: 850€ / 800€ including accomodation (reduced price for those who have already joined one of our workshops)
info: Giulia Zorzi | giulia@micamera.com | associazione@micamera.it
mobile +39 335 6817917
language: English.
You can see some pictures of last year’s workshop with Joakim Eskildsen on our facebook page (micamera)

self portrait

self portrait

Machiel Botman

Machiel Botman was born in 1955 in Vogelenzang, The Netherlands. Self-taught, Botman has photographed since the age of 10. Machiel Botman published three monographs: Heartbeat (Volute, 1994) and Rainchild (Schaden and Le Point du Jour, 2004), One Tree (Nazraeli, 2011) and the artist catalogs Drifting (2005) and Menabo (2006). He has taught workshops, primarily on bookmaking, at John Curtin University, Perth; The New School, New York; and the Toscana Photography Workshop in Italy. He has curated exhibitions for museums as well as edited and designed books on other artists including Miyako Ishiuchi and Kiyoshi Suzuki. Botman’s work is included in many private collections and institutional collections in The Netherlands, France, the United States, Australia and Japan.

After hosting his exhibition One Tree in September 2012, we are proud to represent his work in Italy. Please contact us if you are interested in one of his prints.

Magda Giacopini

Magda Giacopini started practicing tai ji quan and yi quan in 1998 under the guide of Chinese master Yang Lin Shen and his followers. In the same period, she started practicing yoga and meditation. Essential for her formation has been her training with Natalie Römer Capannelli, martial arts teacher and creator of ki-contact, a discipline that puts together martial arts and contact improvisation. Magda took her studies to become an instructor in daoyin yoga at the Oriental College in Amsterdam.