BRIGITTE GRIGNET | Chiloe: La Cruze Del Sur

Issue 06

In 1974, I was six. I was in Belgium and I had never heard words such as exile, torture, dictatorship, junta, or desaparecido. My mother had a pupil, Pilar, a Chilean girl who came to live in our small industrial suburb with her family to escape the regime of dictator Augusto Pinochet, who had seized power in a military coup in 1973. Everything about her was unfamiliar to me: her language, why she had to leave her country…even her name. I imagined other stories, other lands, and other people, images that stayed with me for a long time.

SERENDIPITY | Celebrating One Year of Publishing


Issue 07


Miguel Rio Branco
Larry Fink
Andrea Bruce
Jeff Jacobson
Ken Van Sickle
Joan Liftin
Brigitte Grignet
John Sevigny
Mayra Montero
Simon Roberts and Donna Ferrato

Letter to the Reader, Issue 7

Issue 07

For eleven months I have been inviting artists from all over the world—some known, others emerging or students—to collaborate with Visura Magazine. I invited each artist based on a silent connection I felt to his or her work. Nothing more, nothing less.

DONNA FERRATO | The Tribeca Collection

Issue 07

The Tribeca Collection was born from a capacity for capturing the meaning of life, in all its gritty reality. I value my neighborhood – its history, the streets, the old buildings and artifacts, moonlight across the cobblestones, smells of spices, and sounds of construction —seeing how things look as they go up.


Issue 07

I was born in 1974 in a South London suburb. My mother, a Northerner from Cleator Moor in Cumbria, met my London-born father while they were both working in the capital. My formative years were spent in Oxted, a provincial town in Surrey’s commuter belt. Holidays were often spent walking in the Lake District, usually in the rain, or visiting my grandparents in Angmering-on-Sea, a retirement town on the South Coast. My memories of holidays are infused with very particular landscapes: the lush greenness around Ennerdale Water, or the flint-grey skies and pebbles of Angmering’s beaches.

JOHN SEVIGNY | El Muerto Pare El Santo

Issue 07

This collection of photographs represents the culmination of a complex web of influences including Baroque painting in Italy and Spain; my Afro-Caribbean faith; my own, sometimes difficult character; and my memories of my father, who died more than five years ago. I came to photography by way of painting, in particular Los Borrachos (1629) by the legendary Spanish Baroque painter Diego Velazquez. I had always taken pictures; I made my first black-and-white darkroom print when I was 12.


Issue 07

When I was growing up in Brooklyn my aunts would ask me what I wanted to be when I grew up. A runaway, I would say. I’d like to hit the road.

I knew all about hitting the road . I’d seen movies in which spunky young women would walk, hitch, ride the rails across the country having adventures and meeting lovable scoundrels who had been places and seen things.

MAYRA MONTERO | The Brightest Flower

Issue 07

One quiet afternoon during Lent, not long after she turned 100, Madame Lulú gazed off into space, breathed a small sigh that could easily have been taken for a yawn, and like someone letting go of a little bone he’s had stuck in his throat a long time, said: You were wrong to kill yourself, Pablito. She said it in French, which she only used when she was really angry, or on the few occasions when she was very happy.

LARRY FINK | The Beats

Issue 07

Imagine the years, which have passed between these pictures and now. Here I am, graying, experienced, with hope and strain and some fame; with the Octopus, its social tentacles flailing around themselves; the adult that I am, as convoluted as any adult is…through long streets of gain and short bursts of pain. How many cows can one milk in a day?


Issue 07

Diner, Lone Pine, California, 2009

ANDREA BRUCE | Ingushetia’s Decisive Moment

Issue 07

This is the start of a story, one that has taken place in many countries under the influence of many different religions. It is a story of people, torn by politics because of their honest yearning for hope, who are left vulnerable to the teachings of extremism. It is an old story, one I have personally seen unfold in Iraq and Afghanistan—which is why it frustrates and intrigues me. It seems to go hand-in-hand with war.

KEN VAN SICKLE | Second Site

Issue 07

Most photographers, by grace of several kinds of mistakes, discover double exposures on their contact sheets. They are mostly annoyed or distressed that the error spoiled the photo they were after. Some, including myself, find them to be fascinating.

In 1959, I purposely made some double exposures. With the old C-model Leica rangefinder cameras, one could reset the shutter without advancing the film.


Issue 07

These images are just some ideas roaming around in my mind. I was looking for contrasts in the city of Tokyo. I believed I could find them there, but my mind kept reminding me of Japanese movies I had seen in the past: Mizoguchi, Kurosawa, and Kobayashi…Japanese architecture, gardens, and the incredible food. Also, the amazing Utamaro, painter of women (who is also the hero of a movie by Mizoguchi) came to mind.

HYE-RYOUNG MIN | In-between Double

Coming to New York in 2005, I found myself gravitating towards the streets. I followed passersby through the rhythms of their daily lives and portrayed them by guessing their hidden emotions:  love, loneliness, despair, yearning, uncertainty, memories of childhood.  I humanized them for myself by representing their likeness in my own visual language.


This series of photographs is inspired by a Russian tale of a man who goes out into the sea to find himself—to find his purpose and significance in life. After some time, however, he comes to realize the exact opposite, that he is insignificant in the large world he has discovered. He is simply a speck, leading his own life amongst many others.
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