Release in September 2020, the 4th issue of Kinbaku Society of Berlin, representing the heat of Summer, in these seasonal instalments of the thoughts, writings, poetry and art of Kinbaku across the previous 3 months.
As my first experience of the KBS magazine, I was eager to open it as soon as it arrived, excitedly turning to the first page, a wonderful poem by the talented Margout Darko, set atop an intriguing black and white photo of her. This opening poem helped to set the tone for what was to come.
Turning the page, I delved into Alexander’s Editorial for this months issue. As I came to learn this staple opening helps to provide background on the thought process of the seasons research and experience, which drive the curation of the magazine. Tantalising the appetite to turn each page, the reader is drawn in with evocative language, emphasising the attributes of summer and their correlations to the art of Kinbaku.
This issue covered a wonderful study into Sugiura Norio, renowned photographer who is responsible for single handedly inspiring many to explore the erotic art of shibari/kinbaku. Written by Wykd_Dave Rickman, the reader is brought along a personal journey of experience, with the respect and adoration of a true fan, noting Sugiura Sensei’s attention to detail, curating every aspect of the moments he captures on film, the marks of a consummate professional.
Continuing though the magazine each page is adorned with poems and images collected from artists across the globe, a true collaboration of likeminded souls sharing passion and art in many forms. The featured artist in this issue was Amaury Grisel, who was responsible for some of the first images of rope bondage that really captured out attention. Always having had a fascination with the dance between lights and shadows in black and white photography, Amaury’s eye for presenting his subject in captures emotion so deftly that is is often easy to overlook nudity or eroticism in his photos, but be drawn deep into the experience of his models.
In the second half of the book, concepts from around the world including Norse, Japanese and Christian that explore the concepts and ideas behind suffering, themes that run common in many cultures but are expressed in a variety of different ways. I particularly enjoyed the min bio on Umehara Hokumei, a Japanese publisher who was able to defy censors in Japan to distribute erotic materials. These kind of insights help to provide context to the culture in which kinbaku grew over the mid 19th century, among a society caught between worlds of traditionalism and modernisation and although not specifically related to rope, these important second and tertiary insights give the ability to appreciate why certain elements of kinbaku developed over time and have become such a large influence across the world today.
After completing the magazine in one sitting I was left yearning for more, knowing that I would be eagerly awaiting the release of each issue and pledging my support to the ongoing publication of this important work. Needless to say I was not disappointed with the release of Issue 5.
Shibari Sanctum 