Thursday, 24 June 2010
Wednesday, 23 June 2010
Following his Masters at Interactive Telecommunication Program (ITP, NYU), he moved away from screen-based work and decided to work directly with light. He began creating his own systems with which to manipulate light - thereby doing away with a reliance on traditional systems such as television or film. James currently has three patents in the US for new engineering systems he created while developing his light art.
James’ early works dealt with understanding how people see, often times being represented by sculptures that manipulated light information. His relationships with new media technologies have also led to various site-specific and interactive architectural installations - 3D environments that respond to the viewer, or to the space.
Following a move to the Middle East in 2007, his unique vantage point as a new media artist from America has led to more conceptual works that deal with nationalism, globalism, and popular culture in the age of mass information. His two previous solo shows, ‘For Your Eyes Only’ and ‘Acceleration’ both dealt with human behavior in a hyper-tech world. ‘Acceleration’ in particular dealt with highly politicized themes such as xenophobia and violent nationalism. Recent works have been a mix of visual systems with socio-political ideas and popular culture.
Saturday, 19 June 2010
It is no coincidence that Belgium is the country of surrealism; of René Magritte (1898- 1967), of visual paradoxes such as “Ceci n’est pas une pipe” in the painting La Trahison des Images (1928), of the mussel pots of Marcel Broodthaers (1924-1976), the female nudes of Paul Delvaux (1897-1994), the collages and controversial film L’imitation du Cinéma (1959) by Marcel Mariën (1920-1993), the poetry of Paul van Ostaijen (1896-1928)... It is also no coincidence that singer Jacques Brel (1929-1978) described Belgium as no more than a “state of mind. A dream, a fiction, a product of surrealism”...
Although Surrealism has not been around long as an artistic movement, its influence is here to stay and it continues to live on in all areas of art. Whereas James Ensor (1860- 1949), with his irony and unbridled imagery, can certainly be considered as a pioneer of Surrealism, Belgium still produces artists in the Surrealist tradition.
Belgians are raised on a certain form of stratification, of disorientation. This applies equally to design. This should not surprise, given that surrealist artists such as Dali and Magritte readily incorporate everyday objects in their compositions.
This is why Design Flanders decided to centre a travelling exhibition around the surrealist theme. The launch took place in November in Turin during the Torino World Design Capital event, where it attracted a great deal of interest.
Je suis dada shows objects with hidden meanings, full of emotion, poetry, irony and relativism. They get us dreaming, fantasising and smiling again, only nowadays there is nothing wrong in setting out to shock. Imagination reigns again.
Functionality and beauty are no longer specified as the only conditions, or even as conditions in themselves. These are generally limited-edition objects produced in small production runs, but industry too can fall for their sexy appeal.
The title itself refers almost literally to this drive towards freedom, it intrigues, raises questions, and carries the same weight as “Ceci n’est pas une pipe”. Je suis dada grew into something larger, in which not only the objects but also the graphic design (by Barlock), the scenography (by Pieter Boons and Annemie Lathouwers), the visuals and the music became part of the surrealist story the exhibition brings to you.
The exhibition will be extended with several innovations including Baobab by Xavier Lust for MDF Italia and a new version of the lamp Equilibre by Luc Ramael for Prandina.
Tuesday, 15 June 2010
S. Ruby Anemic, who studied graphic design at Berlin-Potsdam and works as a fine artist with exhibitions in L.A. and Berlin is the curator and artistic director of Pool Gallery. Anemic - that is his artists name - is born 1975 in West-Berlin, Gropiusstadt, which is a modern suburb of Berlin build in the sixties and seventies of the last century. Grown up in this area and then experiencing the united city, Anemic is a energetic, open-minded, urban and ambitious curator and artist, who is not only working in Berlin, but also in London, New York and Tokyo.
Monday, 14 June 2010
Sunday, 13 June 2010
In 1914, Man Ray married the Belgian poet, Adon Lacroix, and soon after met the experimental artist Marcel Duchamp. Duchamp was to be one of Man Ray’s greatest influences as well as a close friend and collaborator. Together the two attempted to bring some of the verve of the European experimental art movements to America. The most energetic of these movements was “dada.” Dada was an attempt to create work so absurd it confused the viewer’s sense of reality. The dadaists would take everyday objects and present them as if they were finished works of art. For Man Ray, dada’s experimentation was no match for the wild and chaotic streets of New York, and he wrote “Dada cannot live in New York. All New York is dada, and will not tolerate a rival.”
Having broken with his wife, Man Ray left New York for Paris in 1921—marking a continuous stream of tempestuous and often doomed romances. Through Duchamp, Man Ray met some of the most exciting artists and thinkers in Paris. Though he didn’t speak a word of French at first, he was welcomed into this group and became its unofficial photographer. Among the many models from this period were Pablo Picasso, Ernest Hemingway, Salvador Dali, Gertude Stein, James Joyce, and the famous performer, Kiki of Montparnasse. For six years Kiki was Ray’s constant model, muse, and lover.
He died on November 18, 1976 at the age of eighty-six. One the great artists and agitators of his time, Man Ray will be remembered not simply for the fascinating and experimental works he left behind, but for the crucial role he played in encouraging the revolutionary in art.
His 50th Anniversary Portfolio was published in 1952 with photographs printed by Brett. An even larger printing project took place between1952 and 1955. Brett printed what was known as the Project Prints. A series of 8 -10 prints from 832 negatives considered Edward's lifetime best. The Smithsonian Institution held
the show, “The World of Edward Weston” in 1956 paying tribute to his remarkable accomplishments in American photography. Edward Weston died on January 1, 1958 at his home, Wildcat Hill, in Carmel, California. Weston's ashes were scattered into the Pacific Ocean at Pebbly Beach at Point Lobos.
Wednesday, 9 June 2010
In a new creative collaboration with director and photographer Melodie McDaniel exclusively for AnOther, Gainsbourg, wearing the Balenciaga Pre-Fall collection, stars in an experimental video piece that documents her day-to-day life in Los Angeles amid the glamorous ghosts of Hollywood’s famed Chateau Marmont.
Having easily eluded the towering shadow of her parents’ fame – the combined force of Serge Gainsbourg and Jane Birkin – Gainsbourg is creating a legacy that may just prove to be greater than the sum of her familial parts.
On the night after the final performance, the three men and friend Anne Ryan took to the streets to create a film tableau, drawn from Adam's performance – "a strange little nocturnal world of bodies and light," according to Daniel. "The shoot was me with a digital SLR and Adam, Jordan and Anne spasming, convulsing and running in the darkness with hand-held strobe flashes." As if members of a tribe partaking in a bacchanal ceremony, the dancers wore headdresses covered in hundreds of bells, designed to convey the physical sensation of their ecstasy pulsating from their minds through their bodies. "The costumes created a texture in this fast-paced nocturnal interlude and helped the viewer visually understand the mindset of the characters," says Jordan. All before morning came and the reverie subsided.
'Karma' is an Indian religious concept in contradistinction to 'faith' espoused by Abrahamic religions (Judaism, Christianity, and Islam), which view all human dramas as the will of God as opposed to present - and past - life actions. In theistic schools of Hinduism, humans have free will to choose good or evil and suffer the consequences, which require the will of God to implement karma's consequences, unlike Buddhism or Jainism which do not accord any role to a supreme God or gods. In Indian beliefs, the karmic effects of all deeds are viewed as actively shaping past, present, and future experiences. The results or 'fruits' of actions are called karma-phala
Tuesday, 8 June 2010
Maison Martin Margiela ‘2o’ The Exhibition, celebrating 20 years of one of todays fashion most influential and enigmatic designers.
Curated by the Antwerp Mode Museum in close collaboration with Maison Martin Margiela, the exhibition captures Margiela’s unique aesthetic and vision, incorporating garments, installations, photography and film.
Be sure to pack your lab coat though,… just in case.
Maison Martin Margiela ‘20’ The Exhibition, from June 3 to September 5 at the Somerset House Embankment Galleries.
The septum piercing is particularly prevalent among warrior cultures, this probably has to do with the fact that large tusks through the septum give the face a fierce appearance. The use of septum tusks is very prevalent in Irian Jaya, New Guinea and the Solomon Islands, pig's tusks being the most popular. Among the Asmat tribe of Irian Jaya the most prestigous septum tusk is the "Otsj" this is a large bone plug, which can be as thick as 25mm. They are usually made of the leg bones of a pig, but occasionally they are made from the Tibia bone of an enemy slain in battle.
The Septum piercing was beloved by the Aztecs, the Mayans, and the Incas. They wore a variety of jewellery, but jade and gold were the most popular because of their religous associations. The modern day Cuna Indians of Panama continue this practice by wearing thick pure gold rings in their septum.
The piercing is also popular in India, Nepal, and Tibet, a pendant "Bulak" is worn, and some examples are so large as to prevent the person being able to eat, the jewellery has to be lifted up during meals. In Rajasthan in Himachal Pradesh these Bulak are particularly elaborate, and extremely large.
Septum piercing was widely practised by many North American Indian tribes, the name of the Nez Perc, tribe of Washington state, stem from their practice of piercing the septum, Nez Perc, is French for Nose Pierced, and was given to the tribe by the French fur traders. Australian aboriginals pierced the septum and passed a long stick or bone through the piercing to flatten the nose, they believed a flat nose to be the most desireable.
Among the Bundi tribe of the Bismarck Ranges of Papua New Guinea the piercing is performed using the thin end of the Sweet Potato plant (Ogai Iriva), usually at age 18-22. The age at which the piercing is done varies greatly between different tribes, some tribes perform the rite at age 9-10.
"You were lost in the bush and now you have come back. You have come back mature; you are men. When you return to your hamlet many girls will come after you. But if you have lived well, and if they come after you, all the well. You will now have your noses pierced to allow you to sing with girls and lead a life like that of your elders. Your (Kangi Poroi) caused you to go to all this trouble, now it will be over."
Source: Field notes of David G. Fitzpatrick 1977 in "Bundi, the culture of Papua New Guinea people"
It includes pictures taken by professional photographers and artists, but also images made without our knowledge on a daily basis through the proliferation of CCTV.
The exhibition is divided into five thematic sections: The Unseen Photographer, Celebrity and the Public Gaze, Voyeurism and Desire, Witnessing Violence, and Surveillance. In each case, the nature and character of invasive looking is evident not only in the images themselves, but also in the ways in which the viewer is implicated in acts of voyeurism. Rather than blame the camera for showing illicit or forbidden material, Exposed explores the uneasy relationship between making and viewing images that deliberately cross lines of privacy and propriety.
Tate Modern 28 May – 3 October 2010
Emigrees to Mars received androids so sophisticated it was impossible to tell them from true men or women. Fearful of the havoc these artificial humans could wreak, the government banned them from Earth. But when androids didn't want to be identified, they just blended in.
Rick Deckard was an officially sanctioned bounty hunter whose job was to find rogue androids, and to retire them. But cornered, androids tended to fight back, with deadly results.
A retrospective on Blade Runner after the jump