Inside Stockholm Metro / Artist view

Inside Stockholm Metro, Odenplan

Odenplan T-bana station, T-17, T-18, T-19 line (green)

Stockholm Green Line T-17, T-18, T-19

Odenplan Metro Station in Stockholm

Kungsträdsgården T-bana station in Stockholm, line T-11, T-10 (blue)

Kungsträdsgården T-bana station in Stockholm, line T-11, T-10 (blue)

Stockholm C Metro Station

Stockholm C Metro Station

Ceiling inside Stockholm Metro T-Centralen

Ceiling inside Stockholm Metro T-Centralen

Metro Central Station in Stockholm

Metro Central Station in Stockholm



You may also like some pics of the surface

The Overlap Techique

digital photography techniques with levels

Merging of two photographs plus writings – street art on a photograph

I developed the Overlap Technique with some photographs I took at EX Tacheles Galerie in Berlin. I think it’s the most representative case of deterioration of imagination and freedom to do true art. Then, I wanted to celebrate this temple of genuine art the same days and month of its closure, which occurred in September 2012.

The Overlap Technique consists in digitally merging two or even more photographs together taking into consideration proportions, colors and positioning of things into the frame. Through these overlaps I try to create new associations of ideas, in this case all is connected to the sad and insane relationship between art and business.

I took inspiration by fading movie technique: I try to recreate fading into a single photograph, in particular freezing the moment in which the different scenes stand at their maximum visibility to convey the most powerful message. I also add writings, resulting in a sort of street art applied to photographs. The writings are taken from articles published on various magazines and blogs concerning the closure of this Art Center.

I’ll develop this technique in the future, also for more deep, lyrical and existential themes. Stay tuned ;)

Technique examples on my new online portfolio under Experimental Collection.

La technique des superpositions – FRANCAIS

J’ai développé la technique des superpositions avec les photographes que j’ai pris chez la Galerie Tacheles à Berlin. Je pense que c’est le cas le plus représentative de la détérioration de l’imagination et de la liberté de faire de l’art véritable. J’ai voulu aussi célébré cette cathédral des idées pendent les mêmes jours et le même mois de sa fermeture, que s’est passé en Septembre 2012.
La technique des superpositions consiste en l’union entre deux ou même plusieurs photographes compte tenue des proportions, des couleurs et position des objets dans le cadrage. A travers des superpositions j’essaye de créer nouvelles associations des idées et dans ce cas tout est relié au triste rapport entre art et affaires.
Je me suis inspirée à la technique du montage fondu: j’ai voulu récréer un fondu dans une seule scène fixe, en particulier gelant les scènes dans le moment de maximum visibilité des photos, pour transmettre le message le plus fort. J’aime aussi ajouter des écritures: une sorte de art de la rue appliquée à la photographie. Les écritures ont été prises des différents articles et blogs concernant la fermeture de la Galerie Tacheles.

Street Lights

Imagine yourself fallen into a dust and smog cloud, horn and tire noise, loud roaring, lost on a median island pretty in the middle of nowhere… If you feel excited about such a situation (I had a lot of fun, indeed, but remember, I’m a crazy one :) ), then you should try taking some pictures like these. Below each photograph, ISO, focal length (for APS-C), aperture and time values are specified.

milla kazimirISO 200, 18mm, f/10 @ 20sec

graffiti street art italy
ISO 200, 55mm, f/10 @ 10sec – Unknown Graffiti Tag/Crew

how to photograph city lights at night
ISO 200,  42mm, f/32 @ 30 sec

long exposure photography highway lights
ISO 200, 21mm, f/18 @ 20sec
During the first 2-3 seconds of total shooting time I accidentally moved the tripod :D


Kirlian Camera + Hocico @ Orion, Rome (IT)

Some photographs from concerts of Kirlian Camera and Hocico held in Orion club, Rome, Italy.

Kirlian Camera-Roma2-JPEG640X480FB

Elena Alice Fossi, beautiful singer of Kirlian Camera


Erk Aicrag, powerful singer of Hocico

Femicide N°1


Titolo: Femicide N°1

Autrice: Milla Kazimir

Dimensioni: verticale 20×30 cm

Tecnica: acrilico, medium e vernice lucida, tempera su tela e tavola

Data di realizzazione: gennaio/febbraio 2012

 Soggetto e interpretazione

Donna scuoiata su sfondo rosso e ombra di uomo stilizzato che sta per afferrarla.

La figura femminile è priva dei segni di femminilità esterni: pelle, che tanto ci accaniamo a coprire di creme; trucco e rossetto, con cui esaltiamo la bellezza esterna; capelli, strapazzati dalle tinture e dalle messe in piega, per avere un’immagine accettabile; seni e apparato genitale, escavati, vuoti e secchi, contro l’idea generale che li vuole pieni, sia di latte, di sangue o di altri liquidi; i rivoli rossi di sangue fresco e il giallo della carne in putrefazione sono il simbolo dell’inutilità della femmina se le manca tutto quello appena descritto.


L’ombra dell’uomo stilizzato sogghigna e mostra la sua arma fisica, sta per acchiappare la figura femminile. La figura è stilizzata a indicare il suo rappresentare tutti i maschi violenti, manifesti o meno. Appare collegato alla femmina con sottili fili neri: l’interdipendenza è sempre presente, anche, e a volte soprattutto, nei momenti di violenza. Ma forse vuole rappresentare maggiormente la superiorità del carnefice, spesso perdonato dalla femmina, fino all’atto risolutivo.

Lo sfondo è rosso, il colore del sangue che versiamo lottando ogni giorno contro discriminazioni di diverso tipo, economiche, culturali, o semplicemente “perché siamo nate così”.


Ulteriore interpretazione

La crudezza della scena non ha lo scopo di spaventare, inquietare o nauseare lo spettatore. Queste potrebbero essere reazioni momentanee, prima di arrivare a quella vera: lo scuotimento, il risveglio dalla rassegnazione e dalla disperazione, come trovarsi di fronte al proprio toccare il fondo. Quello scuotimento necessario a prendere coraggio e dire di non volersi più sentire come la femmina del dipinto, a denunciare o a scappare e chiedere aiuto. È il momento dell’annullamento della dignità per riconoscerla e recuperarla.
Per chi si sente meno coinvolto dal tema della violenza sulle donne, vuole essere l’occasione per far prendere consapevolezza dei sentimenti che si possono provare in determinate condizioni.

Ispirazioni artistiche

Il trattamento del soggetto femminile e i filamenti neri sono stati ripresi dallo stile di Francis Bacon (vedere sotto); per la figura maschile non esiste una vera e propria ispirazione se non quella dei fumetti e dei cartoon, con un lieve rimando al giudice Morton di “Chi ha incastrato Roger Rabbit”. Gli occhi della figura femminile invece si ispirano a una scena tratta dal film “L’esorcismo di Emily Rose”.



Title: Femicide N°1
Author: Milla Kazimir
Dimensions: 20×30 cm (7.8×11.8in) Portrait orientation
Technique: Acrylic, glossy medium and varnish, and tempera on canvas and wood
Date: January/February 2012

Subject and interpretation

Flayed woman on red background and shadow of a stylized man who’s going to grasp her. The woman figure was deprived of her external female signs: the skin, with persistence over-covered by lotions and creams; make-up and lipstick, which improve the external beauty; hairs, badly treated through dies and sets, in order to get an acceptable appearance; breasts and genital organs, excaveted, empty and dried, against the broad idea which wants them full, whether of milk, blood or other fluids; fresh blood red rivulets and rot yellow flesh are symbols of female lack of utility, if she misses all the above described things.
The stylized man’s shadow is sneering and showing his physical weapon; he’s going to hold the female figure. The man is stylized to show that it represents all hidden or evident violent men. He appears to be linked to the woman through thin black filaments: interdependence is always present, also, and sometimes above all, in violent circumstances. Perhaps, though, it shows more likely the torturer predominance, often forgiven by the woman, until the ultimate act.
Background is in red color, like blood we pour fighting every single day against any discrimination types, from economical to cultural, or simply because “we were born that way”.


One more interpretation

The roughness of the scene was not thought to stimulate fear, disappointing or sick into the viewer. These emotions could be temporary reactions, before reaching the actual primary emotion: to be shaken inside, to feel the awakening from resignation and desperation, as when one hits the bottom. It’s the same shakening needed to take heart and say not want to be like that painted woman any more, to denounce or escape and ask for help. It’s time to annihilate each one’s dignity, to recognize it and recover it.
To those less involved by this theme of violence against women, this painting would be an opportunity to take awareness of feelings which could be experienced in certain conditions.

Artistic inspirations

The female figure treatment and the black filaments recall Francis Bacon style; for the male figure I hadn’t a particular source of inspiration, except from comics and cartoons, with a light reference to Morton judge from “Who Framed Roger Rabbit”. The female eyes, instead, were inspired by a scene from “The Exorcism of Emily Rose” movie.

Bacon Francis, Three Studies for a Crucifixion, right panel; oil and sand on canvas, 198.2x144.8cm; 1962, NY S. R. Guggenheim MuseumFrancis Bacon, Three Studies for a Crucifixion, 1962. Scanned image from Francis Bacon Skira Mini Art Book

Arno in piena, 29 novembre 2012 ore 13:00/14:00

Il fiume Arno era di nuovo in piena oggi. Stavolta l’acqua fluiva più velocemente, come dimostrano le foto che ho scattato. Per alcune ho indicato focale, diaframma e tempo.
Arno River was again in spate. This time its water flowed faster than the last time, as you can see from the following photographs, taken 1 to 2 PM. Under some of them I added focal length, aperture and time.

190 mm f22 @1/15

70 mm f22 @1/15

80 mm f/22 @1/8

300 mm f22 @1/25

70 mm f/22 @1/25

70 mm f/22 @1/25


Arno in piena, 13 novembre 2012

Arno River in spate, November 13th 2012

Ieri, 13 novembre 2012, saputo che l’Arno sarebbe stato in piena nel pomeriggio, ho preso la mia Kyra (il nome della mia reflex) e sono andata a vedere con i miei occhi il livello del fiume, prima a Pisa poi alla foce, a Marina di Pisa.

Yesterday, November 13th 2012. Once having known that Arno River would be in (almost) full spate in the afternoon, I took my Kyra (the name of my Reflex camera) to go and see with my true eyes the river’s level. First in Pisa center, then at the river’s mouth, in Marina di Pisa.

Arno river in spate, November 2012

Sotto il Ponte della Vittoria / Under Ponte della Vittoria

Arno river in spate, November 2012

La “sede” di Arnovivo / In Summer the area under the steps, here completely under water, is used by people to drink something and listen to concerts and DJ sets. This “bar” is called Arnovivo.

Arno river in spate, November 2012

Graffiti da ultras

Arno river in spate, November 2012

Ponte di Mezzo / One of the most famous bridge in Pisa, Ponte di Mezzo

Arno river in spate, November 2012

Arno river in spate, November 2012

High level !

Arno river in spate, November 2012

Arno river in spate, November 2012

Ponte della Fortezza / Bridge called Ponte della Fortezza

Arno river in spate, November 2012

Santa Maria della Spina

Arno river in spate, November 2012

Pescatori a Marina di Pisa / Fishermen in Marina di Pisa

Arno river in spate, November 2012

Alla foce / At river’s mouth

Arno river in spate, November 2012

Arno river in spate, November 2012

Infine, una versione notturna dell’Arno dal Ponte di Mezzo / Finally, Arno River by night from Ponte di Mezzo

Fiume Arno di notte, Pisa

Neon Art

neon art tate modern

Neon Art photography. Location: the fantastic and inspiring Tate Modern museum in London!
Beyond other themes and works, which will be published in the next few weeks, I decided to grab the souls of these pale lights, as showing a parallel world of sparkling elements.

neon art tate modern london

Neon art is particularly appreciated in Russia and Eastern Europe countries. In Warsaw, Poland, you can even visit a Neon Museum.


And finally I tried to capture the swinging light tales of glowsticks bouncing into a disco cloud of smoke, dry ice and roaring music (below).

Lithuanian war vehicles and other mechanical stuff – MILITARY

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Gruto parkas – Lithuania

This is a theme park where some monuments and statues of past Soviet and Communist period was collected after the Stalin regime fall. Originally they decorated many places and streets throughout the country. The park includes also a little zoo and a child playground.

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