Self titled adaptation of Woman with Mandolin (1925)

Niko Luoma

Every week we feature a series of one selected artist who was published in our printed magazine. This person is blogging during that time.

Constantin Schlachter

Constantin Schlachter – Paraboles

At the beginning of Christianity, Gyrovagi were wandering monks without fixed residence or leadership. Free from all dogmas, they were constrained by a strong link to nature and primitive matter. From wanderings and retreats in the Nature – those lonely periods which transform experiences and lead to self-interrogations – Constantin Schlachter developed an ascetic and instinctive photography, following the way of thinking of the Gyrovagi. With the pictures he realised, he creates a sensorial fiction which resonate into the collective unconscious.

Between 2011 and 2015 he shot his feelings by means of the landscape and its details. A dialog between him and the world surrounding him is restored, replacing himself at the same level. Using different media (cameras and microscope) and through analog and digital manipulations, he fixes the original emotion he experienced, projecting himself on the environment. Each medium and process is corresponding to one specific state of mind. Paraboles is an inner-quest in mental landscapes, where the notions of micro-macro,organic-mineral are confused, thus forming a loop where subjects are constantly reinvented and transformed. Like in an alchemic process, those treatments are in order and to find the essence of the pictures, of the photographer’s feelings.

In this obscure and natural noise, primeval sensations of the human being, maternal caves and mystical creatures echo all around. With the confrontation between those symbolic images and ambient abstractions, a backcountry of the mind is created, leaving us to roam a mental realm dominated by Nature.

Constantin Schlachter – Profile

Photo by Nick Quine

Constantin Schlachter (b. 1992, France) is an artist based in Paris who works mainly with photography. Nature, invisible and matter are dominant entities in Schlachter’s work. Using them, he creates sensorial fictions while examining reminiscence, mental landscapes and a spiritual return to Nature. In his approach all notions of realism are voided, and are replaced with abnormal colors, subjects and textures. He works in an instinctive way, constituting a continuous stream of pictures, in which projects punctuate that flow by crystallizing his evolving feelings.

He obtained a Photography Diploma at Gobelins, l’école de l’image in Paris in 2014. In 2016 he exhibited in the collective exhibition Planet B-100 ideas for a new world at the NRW-Forum in Dusseldörf. He was selected through the Foam Talent Call 2015 to have his portfolio published in Foam Magazine #42: Talent (2015) and was part of the Foam Talent exhibition traveling from Paris (Atelier Néerlandais) to Brussels (De Markten) and London (Beaconsfield Gallery). His dummy, Deux-fois-né was shortlisted at the Unseen Dummy Award (2015), le Photobook Fest (2015), Fiebre Photobook Dummy Award (2015) and at the Breadfield Dummy Award 2016. He was also shortlisted for the Hariban Award ‘15. 

Photo by Nick Quine

Constantin Schlachter – Guest-Posts

Martin Errichiello & Filippo Menichetti – In Fourth Person

September 30th, 2016Author: Constantin Schlachter

A large part of Italian political history of the last fifty years is undeniably shrouded in
mystery. Until today, some of its stories and events, public and private, major and minor,
remain untold, dismissed, and even censored, in some cases. From north to south, the
country often finds itself united in the name of forgetfulness.

Memory – intended as personal and collective history – on the other hand represents a
powerful medium for people to recall lost belongings and to reclaim what has been
forgotten, stolen.

Since the 1960s, in the midst of the so-called “economic miracle”, Italy’s cultural and
political powers established substantial processes of transformation of territories and
traditions, in the name of a progress that must be fed with new roads, new machines and
industries, and definitely a new identity. An identity which had to be able, technically and
politically, to connect the most isolated areas of the country with one another, to bring to
the most remote souls and attitudes its promise of change.

The Calabria region, case-study of our visual exploration, is an ancient land where the
challenge of modernity has imposed its language and aesthetics, slowly oppressing the
territory’s human and natural landscape. “In fourth person” is a multimedia research about
its anthropological, geopolitical and environmental transformation over the last 50 years,
whose “narration” remains fragmented.

Created along the A3 Salerno – Reggio Calabria highway, symbolic storyline of our project,
the research investigate transversely the iconography and the stories of a landscape
suspended between utopy and betrayal. Photographs, objects, documents and videos are
reassembled as a collective mosaic of an imaginary us: in fourth person.



Martin Errichiello is a visual author born in Napoli in 1987. Since 2008 he pursues a free, personal investigation of the visual language through different medias. In 2010 he graduates in photography and visual communication at the CFP “Bauer” of Milan with an internship with the artist Raffaela Mariniello. From 2011, he starts a research with the anthropologist Carlotta Napolitano, producing several projects, installations and a book. In 2012 he was selected for the Visual Storytelling course at the Danish School of Media (attending lectures by Antoine d’Agata, Kent Klich, Nina Korhonen) where he realized the awards-winning documentary “Archipelagoes” and founded the international crossmedia network of visual artists “Panaut Collective”.
He’s now based in Napoli, working as freelance filmmaker.

Filippo Menichetti was born in Florence in 1986. In 2009, after graduating in Psychology at “La Sapienza” of Rome he decided to entirely embrace photography. After a year traveling between the United States, Europe and Asia he attended a master’s degree in photojournalism and reportage to the Scuola Romana di Fotografia in Rome. In 2012 he founded the collective PanAut with other authors of the Danish School of Media and Journalism where he graduated with “What Remains – meditations on a landscape”, produced on the West Coast of Denmark, and the short film “Let him talk”. In late 2013 he moved to Naples where he lives and works.

Nick Quine – Immigrant Complex

September 29th, 2016Author: Constantin Schlachter

The series Immigrant Complex deals with the various by-products of alienation: the feeling of being an outsider in your own country and a stranger to your own culture.

Through resolute still lifes, direct landscapes and confrontational portraits, Nick Quine invites us into his splintered world. He examines sentiments of disunity, fragmentation and acceptance through classical black white images and colourful exposures.

The photographs were shot over three years, focusing on the photographer’s geographical, genetic and cultural ties with South Africa, Sweden and France.

It is an exploration of the fine links that both connect us to and drive us away from our heritage.

Much like his native South Africa, the places, objects and people included in this body of work have fractured, complex and violent undertones.

Using various image making equipment and processes, he visually examines his fragmented background. During this study of self, Nick built fully-functional hand-crafted tattoo guns, wandered the desolate South African plains and explored the dark Scandinavian winters.

To address the omnipresent security issues of his native country, security cameras were used as an image-making tool. The notion of affiliation is explored on a small scale with the fabrication of the tattoo guns, which are used by gangs and tribes to assert their belonging to a specific clan.

On a bigger scale Nick searches for a common thread tying him to the land and the people through landscapes and portraits. The individuals photographed each contain physical and emotional fragments that resonate with Nick. With his subjects’ complicity and acceptance he creates his own adopted bloodline that roams across international and cultural borders.

This body of work addresses the feelings of detachment, adaptation and displacement experienced by Nick Quine due to his background and upbringing. It is a study of origins and of the sentiments of belonging.

Nick Quine (born 1990 in Cape Town) is a South African photographer based between Paris and Cape Town.

From 2009 to 2011 he earned a BA in photography at EFET photography school in Paris. From 2011 to 2013 he continued his studies at Gobelins, l’école de l’image in Paris where he earned an MA in photography and graduated top of his class, receiving First Class Honours with distinctions.

Much like his native South Africa, the places, objects and people he photographs have fractured, complex and violent undertones.
Through resolute still lifes, direct landscapes and confrontational portraits, Nick Quine invites us into his splintered world. He examines sentiments of disunity, fragmentation and acceptance through classical black white images and colourful exposures.