29 de diciembre de 2014
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.
Publicado por lo que miras y no ves en 19:31
28 de diciembre de 2014
25 de diciembre de 2014
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.
Xar Lee, cargocollective.com/xar_lee
"A Painter's Journey"
Music Composer by Marcello De Francisci.
Peter Grünheim - https://vimeo.com/33funk
Video Produced by: Vermibus, 2013 - http://www.vermibus.com
Publicado por lo que miras y no ves en 12:34
23 de diciembre de 2014
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.
Publicado por lo que miras y no ves en 12:13
22 de diciembre de 2014
More info and images of the project:
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:
Publicado por lo que miras y no ves en 11:25
19 de diciembre de 2014
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.
Ricardo Menéndez Salmón (2012. pag: 50-51)
Publicado por lo que miras y no ves en 12:32
17 de diciembre de 2014
«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.
Publicado por lo que miras y no ves en 13:28
10 de diciembre de 2014
“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
Publicado por lo que miras y no ves en 15:13
9 de diciembre de 2014
“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.
Publicado por lo que miras y no ves en 21:56
6 de diciembre de 2014
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.
n. an image that inexplicably leaps back into your mind from the distant past.
Publicado por lo que miras y no ves en 18:42