WARNING!!

by Mark Samsonovich

and beautifully on his own...

Travel where the moon pulls, Tom Adams

spontaneously beautiful...

Nils Frahm -one of my favourite musicians- during the premiere of the new custom built Klavins Una Corda Piano (Michelberger Hotel in Berlin, June 10th, 2014) encouraged audience to come and play this unique instrument. Tom Adams, resembling a skateboarding tourist from Cambridge entered the stage in a sporty fashion. Nils Frahm served as a human microphone stand. At certain point of Adam's solo part (2:00) Nils spontaneously joins in... 

*the full concert here

AND NO SO 'SPONTANEOUS' BUT  EQUALLY BEAUTIFUL

this time-lapse video that covers 3.5 hours of setting up, arranging and sound-checking Nils’s equipment on stage shot during the preparations of Nils Frahm’s latest concert at Admiralspalast in Berlin.  It reveals an insight on all the action taking place before each live performance that normally would remain hidden from the audience.

Drafted, filmed and edited by FELD studio for digital crafts, Berlin · feld.is
‘Hammers’ is taken from ‘Spaces’ out on Erased Tapes.

mind art...

by Jody Xiong

'Mind Art' is an installation by local artist Jody Xiong, created for the acrylic paint brand Winsor & Newton in China.

The results were, quite literally, mind blowing. 
Mind Art, No Limits.

Dissolving Europe

from Vermibus

Dissolving Europe is the new public art work that stormed Europe this year from Vermibus. Using a dubious inter-rail ticket, Vermibus set out with a set of 90 keys and his pallet of solvents to physically and temporally highjack the western world of advertisements in the name of fine art.

Each site is carefully deliberated with its environment, from Rolex boutiques, to archaic museums. The system looks simple in movement: unlock and roll the advertising poster to create a huge blank gleaming white breath of fresh air in the urban environment. The advert then undertakes the process of counter action painting using a series of solvents and brushes, it is then replaced in another site, another city, another country.

Berlin based spanish artist Vermibus regularly collects advertising posters from the streets, using them in his studio as the base material for his work. There, a process of transformation begins. Using solvent, he brushes away the faces and flesh of the models appearing in the posters as well as brand logos. Once the transformation is complete, he then reintroduces the adverts back into their original context, hijacking the publicity, and its purpose.

The gesture of erasing the images with solvent is similar to the gesture of painting, but it is painting counter action. The process is the same, but it is not adding colours on a canvas to create an image, it is removing the colors of an existing photographic image to create a new image and new characters. The models of the adverts have mutated.There is something very organic about the emaciated creatures that emanate from the billboards. The impersonal and sanitized perfect bodies have turned into shadows or mummies that have much more presence and singularity.

By using the advertising space and how the human figures are represented in that space, Vermibus is removing the masks that we wear and is criticizing advertisement which takes away a person’s identity to replace it by the one of the brand.

Vermibus’ art begins and ends in the street, which plays an essential role. People stop, stare, are intrigued, take photos. Publicity adverts show perfectly chiseled bodies and faces like in early ancient Egyptian art. By manipulating the image through removing the flesh of his subjects, Vermibus dehumanizes those figures that were already depersonalized, but he is, in fact trying to find the aura of the individual, the personality that was lost. The posters and models that were so banal, are not so trivial anymore. People notice them, and stop to look at them. They are not part of the background anymore; they stand out in the public space. 

Video:
Xar Lee, cargocollective.com/xar_lee
Music:
"A Painter's Journey"
Music Composer by Marcello De Francisci.
http://www.imdb.com/name/nm1232058/
Image Assistent:
Peter Grünheim - https://vimeo.com/33funk
Video Produced by: Vermibus, 2013 - http://www.vermibus.com

alley of light

by Serge Schoemaker Architects and Digiluce

During the 2014-2015 Amsterdam Light Festival you can experience Amsterdam’s most sparkling street this winter: the Alley of Light. Dutch-based design offices Serge Schoemaker Architects & Digiluce created this twelve-metre-long passage that is surrounded by a four-metre-high three-dimensional matrix of 2000 handmade lights. 

During the Amsterdam Light Festival the Alley of Light is located in the historic centre of Amsterdam on Jonas Daniël Meijerplein, between the Jewish Historical Museum and the Portuguese-Israeli Synagogue. It runs until 4 January 2015. Open daily from 5 until 10 pm.

Thread Wrapping Machine

Anton Alvarez

The Thread Wrapping Machine is a tool to join different types of material with only a glue-coated thread to bond it. No screws ore nails are used to join the different components of the furniture’s. By using this construction method materials such as wood, steel, ore plastic can be joined to form objects and spaces.

I wanted to create an externalised joint that would enable me to combine a big range of different materials that normally would require very time consuming methods of jointing them together. At the same time a decorative pattern appears with the different colours of the thread.

More info and images of the project:
http://www.antonalvarez.com/The-Thread-Wrapping-Machine-making
http://www.antonalvarez.com/The-Thread-Wrapping-Machine

esa forma de reiteración desnuda...

Prohaska no miente. Lo hizo muy pocas veces. Fue, de alguna manera, un hombre impermeable a la mentira, aunque vivió con ella y de ella se nutrió. Hay muchas imágenes de Heidi Knörr. Prohaska la pintó, la fotografió, la filmó. Y siempre lo hizo con una tozudez rabiosa, no dejando que las imágenes se contaminaran del amor innegable que por ella sintió. O sí. Porque el amor, para Prohaska, se concretaba en esa forma de reiteración desnuda, en mostrar a Heidi como era, no como debería ser o como el hombre que la amaba desearía que fuera. Como si Heidi Knórr fuera en realidad inefable y sólo las imágenes, su multiplicación incesante, pudieran dar fe de ella: Heidi amamantando, Hiedi bailando, Heidi bostezando, Heidi cocinando, Heidi cosiendo, Heidi defecando, Heidi durmiendo, Heidi esquiando, Heidi leyendo, Heidi nandando. El amor, pues. Porque lo supo nada más verla. 

[...] Ella apareció por sorpresa ante mi mesa de trabajo. [T]omó el pasillo equivocado y me encontró a mí. Ni siquiera nos dijimos nada. Bastó con mirarse. Nunca más nos separamos.

Heidi Knörr murió en abril de 1962. Estuvieron juntos veintiocho años. Algo que, considerado desapasionadamente, es mucho, muchísimo tiempo.

Medusa

Ricardo Menéndez Salmón  (2012. pag: 50-51)

Seix Barral. 

23 years road trip...

«The more you have traversed the more you realize how little you have seen»

In 1989, Gunther Holtorf and his wife Christine set out on what was meant to be an 18-month tour of Africa. 25 years later, with more than 885,000 km (550,000 miles) on the clock and 177 countries visited, Gunther is still going. The former airline executive has travelled the equivalent of 20 times around the planet in the same vehicle—which he calls Otto.

Advice to the Young

“Be very sensitive to where you are, in what times and in what parts of the world, and how that constitutes the artistic practice,” Olafur Eliasson 

“Artists should have confidence in the fact that making a drawing is changing the world.” Danish-Icelandic artist, Olafur Eliasson, here presents his strong and personal advice to young artists. 

“Making art is making the world”, Eliasson continues, stressing his point that art should not be marginalized, as art is not fragile, but quite the opposite: “Working with art is working with something that is very fierce, very strong and very robust.” 

Artists should be very sensitive to their surroundings and the context in which they find themselves. They should, however, also stay true to themselves and make sure that the strong market and its attractiveness does not commercialize them. 

Olafur Eliasson (b. 1967) works with sculpture, painting, photography, film and installations. He grew up in Iceland and Denmark and studied at the Royal Danish Academy of Fine arts from 1989-1995. In 1995 he moved to Berlin where he founded Studio Olafur Eliasson. Eliasson is behind many major exhibitions and projects around the world, such as ‘The Weather Project’ at Tate Modern’s Turbine Hall in 2003, ‘Take Your Time: Olafur Eliasson’ organized by SFMOMA in 2007, which travelled until 2010 to major venues such the Museum of Modern Art, New York, and ‘Riverbed’ at Louisiana Museum of Modern Art, Denmark in 2014. Among Eliasson’s projects in public space are ‘Green River’, carried out in various cities from 1998-2001 and ‘The Serpentine Gallery Pavilion’ in 2007 in collaboration with Kjetil Thorsen of Snøhetta. He lives and works in Copenhagen and Berlin.

Olafur Eliasson was interviewed by Marc-Christoph Wagner at Louisiana Museum of Modern Art, Denmark in 2014. 

Camera: Klaus Elmer
Edited by: Kamilla Bruus
Produced by: Marc-Christoph Wagner, 2014
Copyright: Louisiana Channel, Louisiana Museum of Modern Art

Supported by Nordea-fonden

kunlé Adeyemi interview

“The architects of the future will begin to be seen 

more as agents of change”

Adeyemi is the founder of NLÉ, an architecture and urbanism practice focused on developing cities and known for projects like the Makoko Floating School in Lagos, Nigeria.

keta:

by John Koenig, from his Dictionary of Obscure Sorrows: For lack of a better word  a compendium of made-up words. Each original definition aims to fill a hole in the language, to give a name to an emotion we all feel but don’t have a word for.

 

keta /KAY-tah/
n. an image that inexplicably leaps back into your mind from the distant past.

from the sky

Djerbahood

Après la Tour Paris 13, la Galerie Itinerrance dépose ses valises dans un village traditionnel de Djerba. Véritable musée à ciel ouvert, Djerbahood est un village investi par des artistes venus du monde entier. Le village d’Erriadh à Djerba a accueilli cet été les oeuvres d’une centaine d’artistes de trente nationalités différentes. Erriadh, lieu authentique  et traditionnel, est devenu un espace d’expression pour chacun des artistes issus de cultures diverses. 

After the Tour Paris 13, the Itinerrance Gallery launches a new project on the island of Djerba. A real open-air museum, Djerbahood is the place invested by artists from all around the world. The town of Erriadh in Djerba has hosted this summer the works of hundred of artists from thirty different nationalities. Erriadh, authentic and traditional place, will become the favorite place of expression for each of the artists from diverse cultures.

a day in UK airspace

  

UK 24 – your guided tour to some of what makes UK aviation work.

created by NATS
Find out more on our blog at: http://nats.aero/blog/2014/11/take-guided-tour-uk-skies/

hello world :)

by Sidekick (composed by Rafael Mathé and Etienne Larragueta)
 
Directed by Rafael Mathé and Etienne Larragueta
2013

In a close future, a private company developed a technology aimed at boosting our brain capacity. But it requires from its clients to store their memory data on one single server. In this highly controlled world, a young woman has the power to change things.

FESTIVAL SELECTIONS
Split Film Festival, 27th EMAF European media and art Festival, 24fps International Short Film Festival, FERATUM Festival Internacional De Cine Fantstico, Terror y SCI-FI, The Philip K. Dick European Science Fiction Film festival.

OTHERS SCREANING
Cinémathèque Française in Paris, La Femis's thesis films.

Press:
The short of the week:
http://www.shortoftheweek.com/2014/10/09/hello-world/
Les Inrocks:
http://www.lesinrocks.com/lesinrockslab/news/2014/10/huit-films-femis-voir-en-ligne/

la experiencia frente a la memoria...

Daniel Kahneman

"We don’t choose between experiences, we choose between memories of experiences. Even when we think about the future, we don’t think of our future normally as experiences. We think of our future as anticipated memories."

Embestidos por la Armada

15 Noviembre 2014:

«Ha sido un momento de gran tensión. La protesta pacífica de Greenpeace contra el buque perforador de Repsol frente a Fuerteventura y Lanzarote concluía súbitamente. Una activista había sido arrollada por una lancha de la Armada y había caído al agua, sufriendo fracturas y heridas de hélice del bote militar. Otro activista sufría contusiones menores. Y nuestras dos lanchas quedaban inutilizadas.»

«La embestida ha puesto el punto final a más de un día protegiendo la zona donde el Gobierno español ha permitido a Repsol buscar petróleo frente a las costas de Lanzarote y Fuerteventura. Con dos activistas heridos y dos lanchas inservibles tras la embestida de la Armada, el Arctic Sunrise pone rumbo a puerto, donde se unirá a todos los apoyos en tierra y continuará incansable su denuncia y oposición a las prospecciones de Repsol.

FUENTE: Greenpeace

performance Art...

by Alexander Calder
Calder Circus 1926-1931

Soon after moving to Paris in 1926, Calder created his Cirque Calder. Made of wire and a spectrum of found materials, the Cirque was a work of performance art that gained Calder an introduction to the Parisian avant-garde. Calder continued to explore his invention of wire sculpture, whereby he “drew” with wire in three dimensions the portraits of friends, animals, circus themes, and personalities of the day. In 1928, he was given his first solo exhibition of these sculptures at the Weyhe Gallery in New York.

Geometría Radical en Caracas...

por Luis Molina Pantin

«Sin título -Geometría radical en Caracas (2013) es una visión irónica en serie inspirada en el Arte Povera que surge de lo que para mí más se identifica con la Geometría Radical. Durante los últimos 15 meses logré documentar una gran cantidad de colchones citadinos, gracias a la buena resolución de las cámaras de los teléfonos celulares; lo que me permitió volver a la tradición del foto-periodista, cuando todo el día andaba cámara en mano coleccionando imágenes.

A veces cuesta describir el proceso o por qué te llama la atención fotografiar algo. Así me pasó con los colchones. Durante la búsqueda, fue una extraña atracción; el acto de dejarlos en la basura los convierte en unos diarios íntimos abandonados y su limpia forma geométrica automáticamente hace el resto del trabajo.» LMP

Vermödalen...

The fear that everything has already been done...

by John Koenig, from his Dictionary of Obscure Sorrows: For lack of a better word  a compendium of made-up words. Each original definition aims to fill a hole in the language, to give a name to an emotion we all feel but don’t have a word for.

vemödalen - n. the frustration of photographing something amazing when thousands of identical photos already exist--the same sunset, the same waterfall, the same curve of a hip, the same closeup of an eye--which can turn a unique subject into something hollow and pulpy and cheap, like a mass-produced piece of furniture you happen to have assembled yourself.

ETYMOLOGYFrom Swedish vemod, "tender sadness, pensive melancholy" + Vemdalen, the name of a Swedish town (which is IKEA's product naming convention). The umlaut isn't proper Swedish, but I liked the idea of a little astonished face (ö) sitting in the middle of the word. And also, c'mon, you can't have an IKEA metaphør without some sort of diÃ¥critïc. 

TRANSCRIPT

"You are unique. And there are seven billion others, just as unique as you. Each of us is different, with some new angle on the world. But what does it mean if the lives we're busy shaping by hand, all end up looking the same-easily replaced by a thousand identical others?

Vemödalen

So we all spread out, looking for scraps of frontier, trying to capture something special, something personal. As if we're afraid of being captured ourselves-so quickly pegged for exactly what we are-so easily mistaken for someone ordinary, just like everyone else.

It should be a comfort that we're not so different, that our perspectives so neatly align, that these same images keep showing up, again and again.

It's alright if we tell the same jokes we've all heard before, it's alright if we keep remaking the same movies. it's alright if we keep saying the same phrases to each other, as if they had never been said before.

"The powerful play goes on, and you will contribute a verse." And you and I and seven billion others will leave our mark on this world we've inherited. But if, in the end, we find ourselves with nothing left to say, nothing new to add, idly tracing outlines left by others long ago, it will be as if we weren't here at all.

This too has been said many times before. The powerful play goes on. And when you get your cue, you say your line.

SOFT CITY

Pushwagner 's 1970's graphic novel
 

The artist's magnum opus started life as a dystopian graphic novel in the 1970s, before disappearing for decades. It has only recently been rediscovered.

The turbulent artist's life was documented in 2011... this is the trailer:

Con los pies en el sueño...

Fragmentos de un diario (2006-2014)

Javier Arteta

Fronterad. 30-10-2014

*     *     *

Un sentimiento incontrolable que se disfraza de normalidad. Incendio que inexplicablemente no quema tus ropas, porque se esconde tras un andar tranquilo. Lo que podría quemar, aunque a la vista sea tan sólo una gélida barra de calma. Andar sin rumbo, la dirección perdida, por los desolados caminos de la costumbre, para llegar a donde sabes que nadie te espera. Disimular y hacer como que nada pasa, cuando ha pasado, marcándote la piel. Y hacer como que vives por el simple hecho de carecer de otras alternativas. (25-2-2011).

*     *     *

A veces, cuando menos te lo esperas, te llega de golpe el pasado como un grumo sin digerir que parecía ya disuelto, pero sigue ahí, vivo en el fondo de tu organismo, dispuesto a estropearte con sus ácidos la digestión de lo que ha venido siendo tu trayectoria existencial. (11-5-2013).

*     *     *

El complejo de inferioridad que se me instala al confrontar la humildad de mis intentos con la perfección alcanzada –y a veces sólo confusamente advertida– de algunos grandes maestros que dejaron tras de sí una obra única. Me siento muy pequeñito, muy distante de esa constelación de espíritus selectos, cuyas realizaciones se me aparecen a veces como una losa de perfección que sepultara cualquiera de mis débiles gorjeos. Aunque, por otro lado, no dejo de pensar en que ellos no fueron sustancialmente distintos de lo que soy yo ni dejaron probablemente de padecer las mismas dudas e inquietudes que a mí me asaltan. Yo, como ellos, me veo circundado de un halo de luz, fuera del cual no hay nada, salvo la oscura inmensidad de todo lo que ignoro. Eso es lo que, en última instancia, podría compartir con cualquier genio del pasado; y lo que me pondría en buena comparación con un Leonado Da Vinci: que es muchísimo más, infinitamente más, lo que ignoro que lo que sé. (6-9-2009).

*     *     *

Necesito un rabioso ajuste de cuentas conmigo mismo. Literario, por supuesto. Pasarme por encima un carro de palabras como cuchillas que me abran en canal. Intervención quirúrgica de urgencia que me ayude, no sé si a eliminar o a conllevar esta luz que duele. Poder decir lo que me pasa en la única forma en que podría ser contado. Coger, mejor, lo que me pasa y transformarlo en escritura. La poesía necesaria y urgente que aguarda golpeándome la piel con sus nudillos despellejados. Y humor, mucho humor, una maroma de poesía y humor para escalar los muros del pozo… (27-6-2010).

*     *     *

Esa obsesión por no perder el tiempo. ¡Como si pudiéramos llevar el tiempo en el bolsillo a nuestra entera y particular y arbitraria disposición! ¡Como si, en realidad, no fuera el tiempo quien nos va perdiendo y olvidando por el camino! (3-7-2010).

*     *     *

¿Reír? ¿Llorar? Mejor reír por no llorar. Reír hasta que se te salten las lágrimas. Reír hasta la frontera del llanto. (14-8-2011).

*     *     *

La palabra, ese pisapapeles para sujetar un cuerpo arrastrado y a la deriva por el ventarrón de los años. (7-12-2011).

*     *     *

¿El mundo interpretado a la medida de tu pequeño cuerpo? ¿Y por qué no? Es el único observatorio con que se puede contar para irlo conociendo. Nadie podrá interpretar el mundo mejor de lo que yo lo hago, por la sencilla razón de que nadie puede interpretarlo por mí. (28-1-2012).

*     *     *

Las palabras no dichas, ¡cómo pesan!, ¡cómo duelen!, ¡cómo se adhieren al pecho! (22-2-2012).

Hong Kong alleys...

by Ajay Malghan