Mike Koedinger – Erotic Magazines II/Talk
Eroticism is in our heads, erotic complications are fantasies in print that stimulate all the senses. Is non-visual erotic material an inspiration? Mike Koedinger’s question put to the circle of makers of erotic magazines results in some surprising answers: Frank Rocholl prefers closeness to over-intellectualised text, prefers interviews with people that »get up closer«. Exciting is also working with things that are not visible, that mainly take place in the head. On the one hand to excite the imagination and on the other hand also to communicate practical know-how and personal experiences that cannot be discussed that easily openly or shared with others in public.
On the one hand you have eroticism as a lifestyle, a world of luxury, jewellery and wealth – but the public image of eroticism, whether in magazines or on websites is very different from the ideas of the individual projects and their makers. They look at things from personal perspectives, approach sensitive topics in a very individual manner. »Porno« as a buzzword, boundaries between reality and fiction: the designers counter the dwindling sharpness of the line between terminology and definitions with their own models; they rely on fantasy, on the power of imagination, on class instead of »mere sex«, which would be boring. »Some pictures just grab you, while others are completely boring«, Frank Rocholl says. To his mind, authenticity and genuineness are important, without which fascination and the stimulation of fantasy are not possible. And what sets the professional machinery of the erotic industry apart from that which is shared by all of the erotic magazines presented is that they are independent as far as designing their content goes, are not subject to the dictates of marketing, and are duty bound only to their own attitude.
Harri Peccinotti still makes exactly the same sort of pictures he did back then, he says, and explains the idea of fiction and reality – fiction can become reality. Just as the image of opened lips is a fiction on the one hand, but on the other hand a reality. Important to him are, instead of distance and observing from a distance, personal observations and associations as the only true, real and genuine. It is in this sincerity and directness that – as opposed to stylisation and standardisation by the plastic culture of an industrialised sexuality – precisely the carefully balanced power of seduction for thoughts and fantasies lies and that is what turns sex into something erotic.