Ryokō netsu - Japan

Japan had been on my list of places to visit since I was young. It turned out to be everything I hoped it would be.

I enjoyed it so much that I hardly took any photos or videos, but here's some that I did get.


© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije
© Martijn Savenije

Ryokō netsu - 2016 Japan from Martijn Savenije on Vimeo.

Music in video:
Kidsuke - IntroOoOoO (Daisuke Tanabe & Kidkanevil)
Daisuke Tanabe - Coil

The Trouw Book

TrouwAmsterdam, which has grown to become one of the World's most beloved venues, will officially close its doors on 3 January 2015. The building in which Trouw resides - a former printing press - combines a nightclub, artspace and restaurant.
To commemorate the past six years the club will be releasing a book: the Trouw Book. In record time Olaf Boswijk, Kyara van Loenen and Luc Mastenbroek have compiled intriguing interviews, beautiful photographs and rare anecdotes by many of the people who've made Trouw possible.

Buy the book

I've contributed many photos to the book, including a photo essay showing Trouw's visitors, an overview of the building and details which capture the essence of the place. You can get your copy by clicking this link. Also available is a limited edition which will include one of my photo prints and two records with my photos as sleeves.

Prints for sale

And if you still looking for more visual goodness, head over to Trouw's ArtBazaar. There I will be selling some of the photos from the series I shot for Trouw in an edition of 100 (size: 30x30cm). More info here.

Example from the Trouw Book © Martijn Savenije
Example from the Trouw Book © Martijn Savenije


Some time ago I took some shots of the terrific Malawi. They've released a great podcast for TrouwAmsterdam. Listen to it on Soundcloud or the player below.

Malawi © Martijn Savenije (2014)
Malawi © Martijn Savenije (2014)

Jason Fulford & Tamara Shopsin

There's so much to learn from others. That's why I always enjoy these kind of videos. Jason Fulford and Tamara Shopsin take us through some of their collaborations in this double projector presentation.


The courtship of a Leica

A couple of months ago, I was filing some papers. Well, I call it filing, but jamming even more paper in an already packed cabinet, sounds closer to the truth. When I opened the cabinet, on one of its shelves lay my digital gear.
It made me realise I hadn’t been using it for the longest time. I was either shooting with my Hasselblad 501cm or, when travelling, I’d opt for the compact Contax T2.
So there were a Canon 5D and two beautiful lenses (50mm f/1.4 and a 24-70mm f/2.8 L) just collecting dust. They had served me well, but if I wasn’t using them, I’d better sell them.

“This camera will change my life.”

Shot with Leica M6 on b/w developed CineStill 800T © Martijn Savenije
Shot with Leica M6 on b/w developed CineStill 800T
© Martijn Savenije

The thing was, I had my eye on a beautiful Leica M6. And when I see a fine-looking camera, I want it, start obsessing about it, need it. “This will be the camera. This camera will change my life.”
However, a camera like the M6 and good glass will put a hefty dent in any wallet, so that’s the real reason I sold the 5D. The Contax T2 too, as clearly, it would become redundant as my go-to 35mm cam. It felt like replacing nice supermarket chianti with a sophisticated 1967 Château Latour. But it also felt very different from working on medium format.

Medium format photography

First, let me explain what I love about 6x6. Or more specifically, what I love about shooting with my Hasselblad: It is the pace. The pace of slow progress.
Fidgeting with film. Loading the insert. Focusing the lens while looking through the waist-level finder. Extending the magnifier and fine-tuning focus. Removing the dark slide. The thunderous clack of the mirror when releasing the shutter and then the whirring sound of advancing the film. The deliberate slothful speed and all its limitations force me to think. After all, there are only twelve frames to a roll.


© Martijn Savenije
Shot with a Leica M6 on Fuji Pro 400H
© Martijn Savenije

So then what is the appeal of the 35mm Leica? In so many ways it’s different from what I’m used to with the Hasselblad. It’s silent, quick and unobtrusive. But in one aspect they’re very similar: they’re sharp as a needle.

I would not have expected any less. Leica (Leitz Camera) have been perfecting their photocameras ever since the very first prototypes were built by Oskar Barnack at Ernst Leitz Optische Werke in 1913. Also, Barnack is responsible for the length of a roll of film. The 36 pictures are a result of how far Barnack could stretch his arms.

So has this camera changed my life? Obviously not. Life - or photographic work – can’t be defined by the gear you use. I’m still grumpy in the morning, I’ve had no epiphanies, nor has my work gotten better overnight. But there is something changing: I’m actually starting to enjoy shooting 35mm. Comparing the camera to my treasured Hasselblad, the Leica feels like a swift sports car.

To be honest, I think I’m more of a medium format kind of guy. I like it when things force me to slow down. However, I’m getting the hang of shooting the Leica and I'm appreciating it more and more. I had read somewhere: “Not using your Leica is like not sleeping with your girlfriend to keep her pristine for the next guy.” So for now, I shall be taking it out more often to get to know it a little better. The courtship has begun.

Holiday photography

When I look up from the screen while I’m writing this, I’m looking out over a Ligurian valley. The surrounding green hills stretch towards the blue Mediterranean. Today is too cold for swimming so we’ve decided not to drive down the narrow twisting road but to stay and enjoy the magnificent view from the terrace of our summerhouse. I’d love to photograph how beautiful it is, but I don’t. I’m worried that I won’t be able to capture the impressiveness of the view.

When I was younger, I’d often get a disposable camera to take with me on trips. Getting home and having the film developed, the bland photos oftentimes disappointed. Not much has changed since. Now still, most of the photographs I take on holiday are simply mementos. They’re holiday snaps after all.

The thing with holiday photography is that the photos hardly ever supersede cliché imagery. The feeling that gives me, has been aptly described by the brilliant Dictionary of Obscure Sorrows as Vemödalen, a contamination of the Swedish vemod (melancholy) and Vemdalen, a town whose name could also be an Ikea product:

n. the frustration of photographing something amazing when thousands of identical photos already exist—the same sunset, the same waterfall, the same curve of a hip, the same closeup of an eye—which can turn a unique subject into something hollow and pulpy and cheap, like a mass-produced piece of furniture you happen to have assembled yourself.

But there’s a paradox to holiday photographs. Even though they might be cliché or have a composition that is off, I love looking through them. They make my mind wander back to the terrific experiences I’ve had.
Looking at holiday photos takes me right back to the smell of Jardin du Luxembourg, the pressing weight of the air after a scorching summer’s day in Korea or to the sound of an Italian sea breeze.

Just like the sun pleasantly enveloping the terrace where I’m sitting now, the entailing flood of memories provides a warm glow of contentment.
So perhaps I should be less critical of holiday photos and be more contented. Yes, I have a couple of days left here in Italy, and I think that's exactly what I'll do. Now where did I leave that glass of wine...

Dolcedo (Italy, 2012) © Martijn Savenije
Dolcedo (Italy, 2012) © Martijn Savenije
Porto Maurizio (Italy, 2012) © Martijn Savenije
Porto Maurizio (Italy, 2012) © Martijn Savenije
Gyeongju (Korea, 2008) © Martijn Savenije
Gyeongju (Korea, 2008) © Martijn Savenije
Jusan Pond  (Korea, 2008) © Martijn Savenije
Jusan Pond (Korea, 2008) © Martijn Savenije
Jardin du Luxembourg, (Paris, 2010) © Martijn Savenije
Jardin du Luxembourg, (Paris, 2010) © Martijn Savenije
Vins fins (Paris, 2010) © Martijn Savenije
Vins fins (Paris, 2010) © Martijn Savenije

Andy Warhol with Cat

Cats in art

As most of us know, besides porn, the Internet gravitates towards cats. That, among many things, is why I – and probably you too – waste too much time on the web. So, guess what the most viewed page on this website is?
Yes, it's the one with all the cats.

Morgana © Martijn Savenije
Morgana © Martijn Savenije

But the World’s fascination with cats isn’t new. The cultural depiction of cats goes back over 9.500 years. The exact history is a bit sketchy but one of the oldest signs of cat-human relationships dates back to the Neolithic period, approximately 7.500 BC. In Cyprus a ceremonial grave was found containing a human skeleton, stone tools, a lump of iron oxide and seashells. Next to it? A tiny grave for an eight-month-old cat, buried in the same westward direction.

Later, the ancient Egyptians worshipped a cat-like goddess, Bastet, the goddess of war. And from there it’s only a hop, skip and jump to the worshipping of the all-holy Grumpy Cat.

Naturally, there's a wide variety of manifestations of devotion to cats. Cats have also always had their place in art. Da Vinci, Van Gogh, Renoir, and many, many more artists have drawn, painted, photographed or sculpted cat figures. Let me take you through some of my favorites.

Thérèse Dreaming - Balthus
Balthus, who referred to himself as the Thirteenth King of Cats, regularly focused on the feline form in his works. Balthus has become famous for his paintings girls at the brink of puberty, sometimes with their furry friends.
When he was 11 years old he fell in love with a stray cat, Mitsou. After losing the cat he drew 40 graphite-and-ink drawings about the experience. Rainer Maria Rilke - Balthus' mother's lover - liked the drawings so much that he arranged their publication and wrote the foreword. Cats have been present in Balthus' work ever since.

'Thérèse Dreaming' by Balthus, 1938.
'Thérèse Dreaming' by Balthus, 1938.
'Dali Atomicus' by Philippe Halsman in collaboration with Salvador Dali, 1948
'Dalí Atomicus' by Philippe Halsman in collaboration with Salvador Dalí, 1948

Dalí Atomicus - Philippe Halsman
In Paris in the 1930s, photographer Philippe Halsman got to know artists of the Surrealist circle. In the late 1940s he collaborated with Salvador Dalí on several photograph projects of which Dalí Atomicus is probably the most iconic. It took them both 28 attempts to be finally satisfied with the composition of staging everything so that it appears suspended above ground.

Two nudes and a cat - Picasso
When you ask people about their favorite artist, one of the most heard answers is Picasso. Not a lot is known about Picasso's relationship to cats, but they are included in a variety of his paintings, such as Cat Eating a Bird (1939) or Dora Maar au Chat (1941). The one I like best is Two nudes and a cat, 1903. Let me explain why.
One of the reasons I enjoy cats so much, is because they don't give a damn about you or what you're doing. I think that a self-reinforcing part of the appeal of cats. I love my cat, but I can never really figure out if she loves me back. And isn't unanswered love usually the most intense?

'Two nudes and a cat' by Pablo Picasso, 1903
'Two nudes and a cat' by Pablo Picasso, 1903

To me, this Picasso drawing shows just that. I'll ignore commenting on the nudes, just look at that cat. Minding its own business, but still in the picture, demanding to be an important part of our lives. That's what cats do. When you don't give them attention, they'll make sure they get it sooner rather than later.

'Cat' by Takeuchi Seiho (1864-1942)
'Cat' by Takeuchi Seiho (1864-1942)
'Mr and Mrs Clark and Percy' by David Hockney, 1971
'Mr and Mrs Clark and Percy' by David Hockney, 1971

In that respect the Picasso drawing is a predecessor of the popular Tumblr Indifferent Cats in Amateur Porn (NSFW). Yes, when you click that link, you'll see graphic displays of amateur pornography - and cats. Don't say I didn't warn you.

Cat - Takeuchi Seiho
Takeuchi Seihō (1864 - 1942) was the pseudonym of a Japanese painter of the nihonga genre. Nihonga, or literally "Japanese-style paintings" are paintings that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. Nihonga are typically executed on washi (Japanese paper) or eginu (silk), using brushes. In monochrome nihonga, the technique depends on the modulation of ink tones from darker through lighter to obtain a variety of shadings from near white, through grey tones to black.

Mr and Mrs Clark and Percy - David Hockney
Painted between 1970 and 1971, the painting shows Ossie Clark and Celia Birtwell shortly after their wedding. Hockney had been Clark's best man. The cat on Clark's knee is actually called Blanche, Percy was one of their other cats. Hockney had thought it a better name for the title though.
In a real life you'd hardly ever see a combination of cats and lillies as the flowers are poisonous to cats. In this picture the lillies signify female purity. The cat symbolises envy and infidelity, as Clark continued to have affairs which contributed to the breakdown of the marriage.

Cat People Magazine
If you still haven't had enough of cats, I can highly recommend Cat People Magazine. If you haven't guessed yet, when I found out about it, I immediately knew I was their target market. It's a contemporary art magazine which features the cats and lifestyles of four cat people ranging from fashion designers to photographers. I particularly enjoyed Takashi Homma's photo-essay.

Well, I guess that about wraps it up. Please, if you have any tips on artworks with cats, please post them in the comments below. I'm going to turn-off my computer for a while and spend some quality time with my cat who's been prancing around on my keyboard, claiming my attention. I'm looking forward to it, because there is hardly anything quite as rewarding as a cat's purr at the stroke of its fur.

Koosje, 2012 © Martijn Savenije
Koosje, 2012 © Martijn Savenije

Right as Grain

Last week I came across a beautiful image by André Kertész. Capturing urban life, Kertész (1894–1985) wanted "to make photographs as by reflection in a mirror, unmanipulated and direct as in life." He has manifested himself as one of the more important photographers of the twentieth century.

Martinique, January 1 (André Kertész, 1972)
Martinique, January 1 (André Kertész, 1972 © the estate of André Kertész)

Many obvious things are wonderful about the image. The lines. The composition. The clouds. The solitary man standing behind the semi-transparant glass, looking out at the an empty sea. All of it.
And what I also really enjoy about it, is the grain. So what exactly is grain, and why is it so appealing to me?

Photographic film often is a strip of transparent plastic film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive silver halide crystals. Still following?
In processed film, the presence of small particles of metallic silver, or dye clouds, developed from the silver halide result in random optical texture: grain. Different types of film have different types of grain because the size of silver halide grains in the emulsion affects film sensitivity: larger grains give film greater sensitivity to light. That's why faster film (= higher ISO) results in more grain.

Digital noise
When people buy digital cameras, they usually don't worry about grain. That's for the simple reason that digital photography doesn't have grain. However, digital cameras do have an equivalent in their sensors: pixels. That's why everyone's fretting about megapixels and sensor size. The larger the sensor and its resolution, the less noise it will produce.
And for most, less noise is what you want. Because, if you would ask me, digital noise is something ugly and needs to be avoided. But I think film grain is beautiful. So what's the distinction?

The difference
In case you missed the most important thing in the paragraph about grain, it's the word 'random'. Pixels from a digital image sensor are the same size and are arranged in a grid. Film grains are randomly distributed and vary in size.
As the pixels of digital camera's are set in straight lines - and with our brains hardwired to recognise patterns - they tend to annoy the eye of the viewer more that randomly arranged film grains.

To be honest, most likely you won't see a lot of difference on a screen. But if you enlarge a digital file and compare it to a print of a blown-up negative, you probably will.
Pay no mind to my peeve, I guess I'm just a sucker for the atmosphere which the grain's aesthetic conveys.

Kyara (Paris, 2013)
Jeroen (2013)

Title photo of exposed roll by Steve Snodgrass.

Getting over Camera Shyness

Exactly one month ago, I asked people to participate in a little portrait project. I had put out the call because I was troubled by a big dose of camera shyness. Not in the way that I don't like my picture taken, but that I got nervous picking up the camera to take pictures.

Over the years I've been looking at so much photography. In the beginning, everything was beautiful and served as an inspiration. However, gradually, my taste in photography developed. Some of the things I liked before, suddenly lost their appeal. Unluckily, this included 99% of the images I had shot myself.
When I started running copypasteculture and when I worked at Foam Fotografiemuseum it got even worse. I was surrounded by great photography all the time. How could anything I tried to make ever reach the high quality of what I saw day in day out? As a result, my cameras stayed safely tucked away in my camera bag for the longest time.

To get over that, I thought it would be best to just stop thinking and start shooting. No concept, no message, no story, just portraits. That's why I had sent out the call for volunteers via social media.
Many people spread the word and even more replied (thank you!). Some volunteers I know to a certain degree, but others are complete strangers. The sheer logistics of the thing is challenging - working out dates and times - but slowly I'm getting closer to the end of the list.

The first developed rolls of film are also coming in. I like some of the photographs I've shot, some I don't like. I see good things and I see the mistakes & flaws. But that doesn't matter. What's important is that I'm shooting again and enjoying myself.

Linda Duits, 2013
Linda Duits, 2013
Elisa Medde, 2013
Elisa Medde, 2013
Zahra Boufadiss, 2013
Zahra Boufadiss, 2013

A photograph as a token of absence

Nightclub TrouwAmsterdam will be banning party photographers. I wrote a piece for their blog with my thoughts on the subject.

A photograph as a token of absence - on banning photographers
Several decades ago, French newspaper Le Monde wouldn’t place photographs. Photographs were seen as a mere illustration to the essence of the message. This year however, another French newspaper, Libération, decided to release an issue without photos as an homage to photographers. The empty frames on the pages showed how important photographs really are.

So I guess we can safely say that, over the years, photography has become extremely invaluable and an essential driver towards a pervasive visual culture. As Libération put it: “..photography takes the pulse of our world”.

Nevertheless, I believe that the bold step of banning photography from the Trouw dance floor is a change for the better.

Besides having a deep love for photography, I also love music. Not only as an introverted endeavour - geeking out to rare releases with my headphones on - but also as an inclusive, transcendent experience. Music has that rare quality of enabling to lose yourself in its momentousness. Especially when all the people around you are being enveloped by its energy and a wave of altered psychological states sweeps over the dance floor. It is my humble opinion that party photography tempers that music-induced state of mind. Let me explain why.

Photography is a subjective medium. It’s a representation of the world through a lens, resulting in an image in line with the photographer’s (creative) vision.
"The Photograph [becomes] a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest shared hallucination”, so says Barthes in Camera Lucida.

That’s why we like to have a little control of what this shared hallucination will look like when it’s posted in a Facebook album, on Instagram or Twitter. I don’t know about you, but I like to look good in pictures. Yes, I’m that shallow. It’s just that I’d rather not end up on one of those “Worst Party Pics Ever”-websites. Thus, having a camera directed at me arouses a state of hyper self-awareness. A preoccupation with the image I’d like to present to the world hinders the blissful music-induced state of dissociated consciousness.

Besides banning professional (party) photographers, Trouw also discourages smart-phone use. In On Photography Susan Sontag wrote: “A photograph is like a pseudo-presence and a token of absence." Any image you take during events is a mere simulacrum of the real experience. It accomodates a form of instant nostalgia towards a moment in which you were not fully present.

Hence, the Instagram you’re taking on the dance floor doesn’t add to your experience. Even worse, it’s taking away from it. Researchers from Fairfield University have found that people who rely on their camera to capture events are not fully immersed and hence less likely to remember the event. They call it the “photo-taking impairment effect”.

So, despite my deep fondness of photography, I’m looking forward to Trouw’s new policy and am looking forward to total immersion in music. Let these great forms of expression build on one another, not devalorize the appreciation of either.

Photo: René Passet

Have your portrait taken

The coming months I will be working on several documentary projects. I'm really looking forward to taking my time to carefully execute new series. Planning, getting in touch with the right people, getting proper authorization to shoot in certain locations etc.

But I also like quick results. Which means I'm doing a side project in the mean time: I'll be taking people's portraits. It's that simple. The reason I'm doing this, is because I tend to get nervous when photographing people. Not exactly the best trait for photographer to have, right? So that's why I'd like to fix it... With your help.

So how does it work?
I'll come by your place with my stuff and we'll be done in no time. Don't expect fancy lighting and make-up artists, just me and my camera. Best case scenario? You invest a couple of minutes of your time for a photo which you might use as your cool new Facebook profile pic. Worst case? You won't like it and you'll delete it. That doesn't sound so bad, now does it?

If you live in Amsterdam and are willing to participate, please let me know.

EDIT: Wow, the power of social media. Within no time, I have gathered a list of people which I'll start with. Perhaps I'll call on volunteers again in the future, but this is plenty for now. Thanks everyone!




Sharing Paths by Ruben Brulat

A week or so ago, I received a package in the mail containing a new photo book by Ruben Brulat: Sharing Paths. He is a photographer whose work I've been following for quite some time. Let me take you through some of his work.

From the series Immaculate © Ruben Brulat
From the series Primates © Ruben Brulat

Brulat is interested in man's being, his habitats and motives.

"First of all , photography is the only place where I feel at my place , where I feel I have a complete freedom. It is certainly a way to isolate myself from humans because they simply fascinate me. I love looking at them, every move, every detail, every word they say. Then I consider each of those in the society, who are they, what are they doing ... But quickly I consider the masses I want to understand why people in groups / society do that, how, and why they choose this direction."

Brulat goes looking for beautiful, but desolate, places such in the series Primates or places that inspire to raise questions as in Immaculates. In the latter the fascination of the role of urbanization mainly plays a major part. Brulat places particular emphasis on the fragility and dependency of man.
Despite the urge to create havens to withstand nature's influences, Brulat shows that man submits to self-constructed hostile environments. The eerie offices and deserted roads are a great resemblance to the vast deserted plain, untrodden areas and cold landscapes of Primates. Almost as if man is not able to conquer his natural instinct and evolutionary background.
The photography by Brulat shows a certain modesty. He shows us the beauty and finiteness seeing both nature and man.

From the series Immaculate © Ruben Brulat
From the series Immaculate © Ruben Brulat

He recently released a book: Sharing Paths. It's a representation of what he calls a "peregrination" of more than a year, from Europe to Asia by land only, through Iraq, Iran, onto Afghanistan, Tibet until Indonesia, Japan and Mongolia.

Ruben searched the unknown, in paths, until there would a place or a person. If the circumstances were just right, he'd take a picture. Otherwise he'd continue his journey.

Performing sometimes in welcoming sand, sometimes in the harsh snow, the just encountered fellows would let themselves go, opening their senses. Embracing everything that surrounds them. Ephemera intensity before saying, often, goodbye to each other forever.
Placing the bodies of people there in part with these accidental and dramatic landscapes, like the trees, the rocks or the black sands of Gunung Bromo.

Sharing Paths © Ruben Brulat
Sharing Paths © Ruben Brulat

The book shows a narrative constructed only by the randomness of encounters capturing the essence of suspended moments.

Bodies of people that became friends, performing, not without difficulties, leaving wounds, marks, and souvenirs from a time before heading towards different paths, after sharing one for a while.

Sharing Paths, tells that story.

Sharing Paths © Ruben Brulat
Sharing Paths © Ruben Brulat

Experimenting with Cinestill 800T film

Last month I had my first try with Cinestill film. Cinestill is motion picture cinema film converted to standard 35mm still photography and C-41 processing. The Cinestill 800T, which I had ordered from Germany, is specifically made for difficult low light tungsten situations, so I thought it'd be good to take on my trip to bright-lit NYC.

It's very sensitive to lightleaks, so instead of loading it in an old, creaky Pentax, I opted for a Contax T2. And as soon as I had put it in, I thought "uh oh".
The Contax T2 detects the ISO value by reading the DX-code. But Cinestill doesn't have a DX-code on the canister. And the T2 does neither have way of setting the ISO manually, nor the shutterspeed. Too bad, because I've read the Cinestill holds its own when pushed to 1600 or 3200. Ah well, it was going to be one big experiment.

All things considered, I'm actually rather happy with the results which came out, even in daylight. Even though I erred, the film still did very well. My next trip will be to Paris and this time I won't be making the same mistake. I'll be bringing a Leica M6 and I'm looking forward to having full control over the Cinestill.

Interested in seeing more example photos? Head over to the Cinestill website or check back here once I get the Paris rolls developed.

Flatiron building
Flatiron building © Martijn Savenije

Street meat
Street meat on Cinestill 800T © Martijn Savenije

Douglas Gordon - Play Dead; Real Time

Top three cultural highlights of New York City

My trip to NYC last month had several distinct highlights. Let me run you through them.

Douglas Gordon

First, I was amazed by seeing Douglas Gordon's two channel Play Dead; Real Time at MoMA. The work was filmed in an empty Gagosian Gallery, where a four-year-old elephant was to perform several tricks - play dead, walk, beg etc. An extremely intimate feel is created by Gordon's way of filming and presentation. The tricks are simultaneously shown from different perspectives on life-sized projection screens and a monitor. I thought it was incredibly moving.


Secondly, Dia:Beacon was amazing. The hour and a half train ride up from Grand Central to Beacon was very enjoyable. The nice views over the river offered a strong contrast to the incessant clamor of the city. After having arrived at the museum, I was flabbergasted by the extraordinary collection, including works by Richard Serra, Dan Flavin, Sol LeWitt, Gerhardt Richter, Joseph Beuys, Bruce Nauman, Lawrence Weiner. The list goes on and on. It was extremely well curated and the building itself adds to the experience. Dia:Beacon uses a lot of natural light, giving an adventitious aspect to the artworks. Also the sheer size of the building was tremendous. I had the feeling of having the museum to myself, because there were so few people walking the gigantic halls at one time.

Dia: Beacon
Dia:Beacon © Martijn Savenije

New York City Ballet

Lastly, a night at the New York City Ballet proved to be extraordinary. Three of today’s most prolific choreographers were united in the Contemporary Choreographers program. An animated ballet set to a vivacious score, Soirée Musicale’s youthful cast entices you to dance the night away under a blanket of stars. Ratmansky’s Namouna, A Grand Divertissement was an grand work that abstracts a comical 19th-century story ballet into a highly-stylized series of animated dances for seven featured performers and over 20 supporting cast members. But the highlight of the evening was the classically rooted but resolutely contemporary movement of Angelin Preljocaj's Spectral Evidence, which was set to a - surprisingly melodic - selection of works by John Cage.

Volunteers for photo documentary

English below

Deelnemers gezocht

Voor een fotoreportage ben ik op zoek naar mensen met een persoonlijkheidsstoornis.
Het gaat om 'eigen werk'. Dat betekent dus dat het niet bedoeld is voor publicatie in media.

De fotoserie

Het doel van de serie, is het vastleggen van de leefomgeving van de betrokkene. Indien gewenst wordt anonimiteit gewaarborgd. De betrokkene hoeft dus niet per se (herkenbaar) in beeld. De betrokkene heeft alle ruimte om grenzen te stellen.

Hoe gaat het in z'n werk?

Als je interesse hebt, stuur me even een mailtje. In overleg met de betrokkene, bepalen we samen de verdere stappen. Overleg kan via email, maar natuurlijk ook bij een kop koffie. Het belangrijkste is dat de betrokkene zich goed voelt bij het proces.


Ben jij, of ken jij iemand met één of meerdere stoornissen zoals hieronder beschreven, neem dan contact met me op. Ook voor meer informatie ben ik te bereiken via info[at]martijnsavenije.nl

Lijst van persoonlijkheidsstoornissen:
Paranoïde persoonlijkheidsstoornis
Schizoïde persoonlijkheidsstoornis
Schizotypische persoonlijkheidsstoornis
Antisociale persoonlijkheidsstoornis
Borderline persoonlijkheidsstoornis
Theatrale persoonlijkheidsstoornis
Narcistische persoonlijkheidsstoornis
Ontwijkende persoonlijkheidsstoornis
Afhankelijke persoonlijkheidsstoornis
Obsessieve-compulsieve persoonlijkheidsstoornis


Looking for participants

For a photo documentary series, I am looking for people with a personality disorder.
The series is so-called 'personal work'. This means that it is not meant for publication in media.

The series

The purpose of the series is capturing the living environment of the person concerned. If desired, anonymity is ensured. The person does not necessarily have to be in any of pictures, recognisably or at all. The person is invited to set their limits and define what they're comfortable with.

How does it go about?

If you are interested, please send me an email. Together with the person concerned, we will determine the next steps. This can be done via email, but also over a cup of coffee. The important thing is that the person feels good about the process.


Are you someone who is coping with one of the disorders described below, or do you know anyone, please contact me. Also, if you need more information, feel free to contact me via info[at]martijnsavenije.nl

List of personality disorders:
Paranoid personality disorder
Schizoid personality disorder
Schizotypal personality
Antisocial personality disorder
Borderline personality disorder
Histrionic personality disorder
Narcissistic personality disorder
Avoidant personality
Dependent personality disorder
Obsessive-compulsive personality disorder

New website

The past day I've been working on an overhaul of my website, which was long overdue.

I've switched from Indexhibit to WordPress because Indexhibit just wasn't able to integrate as easily as WordPress can.
Also the site has a completely new look and feel, and I trust it is an improvement. It was long night of tweaking the theme and coding while Oneohtrix Point Never and Nebulo kept me company.

Now all I have to do is start shooting more again to get a steady stream of content.
In the meantime, I hope you enjoy the new site.