D e f i n e U s

defineus twelve

2012-02-19T02:28:00.000-08:00

JEREMY SCOTT FALL 2012 READY-TO-WEAR COLLECTION

Faulkner famously said, "The past isn't dead. It isn't even past." Today, in his own way, Jeremy Scott said it, too. He was thinking of the persistence of the past in the perma-present culture of the Internet, when anything and everything is just a Google search away. "Things don't ever go away now," he said backstage. "Deleting history isn't really possible."
There were sweat suits, stretch dresses, and leggings printed with computer screen shots and instant-message emoticons. "We use them to communicate our emotions," Scott explained. "I'm angry, I'm happy, I'm horny, I feel kind of flirty. That's now a legitimate answer." He sounded a little rueful, actually, as he mimed pressing a button. "Boop!"

ILOVE IT

Justin Mortimer

2012-02-13T06:33:00.000-08:00

Born 1970

Lives and works in London

Justin Mortimer's darkly enigmatic paintings are infused with an unsettling disquietude. His heavily worked, technically adroit canvases depict sinister and foreboding landscapes, often populated by fragmented figures and lurking, truncated body parts. These ambiguous and eccentric narratives embody potent psychological states, addressing issues of alienation, ontological solitude and the fragility of the human body. Locations that have borne witness to conflict, or moments of extreme human vulnerability are Mortimer's primary inspiration; images of battle sites, derelict wastelands, military graveyards and other places of heightened emotion provide the starting points from which his extraordinary paintings evolve.

However, before pigment touches canvas, each work is prefaced by a digital collage – a working drawing composed in Photoshop, built from the artist's extensive archive of imagery. Holiday snaps, photographs torn from magazines, found medical photographs and internet-scavenged images all find their way into these primary montages, which are created rapidly and spontaneously. Yet Mortimer has no interest in critiquing the role of digital imaging in the construction of private and public memory, rather the procedure is a pragmatic shorthand intended to expedite the creative process. These digital sketches are then transposed to the canvas, after which the physical painting process takes over until, returning to his computer, more collages are created to aid the advancing composition. As the canvas is repeatedly overpainted and redrafted, this to-ing and fro-ing between digital and analogue can often result in up to fifteen collages being created for a single painting. It's an unconventional approach, yet draws out unanticipated visual collisions that amplify Mortimer's underlying themes and emotive content.

define us eleven

2012-02-12T01:09:00.000-08:00

defineus TEN

2012-02-09T01:24:00.001-08:00

Maarten van der Horst

2012-02-07T03:29:00.000-08:00

From I-D Magazine May 5, 2011

Texture, colour and bold prints were paramount to 28-year-old van der Horst’s Central Saint Martins graduate collection. Models emerged wearing bright nylon petticoats layered over Hawaiian shirts to form skirts, shorts and cape-like jackets. The prints themselves were something of a masterpiece; making Hawaiian sophisticated is no small feat but van der Horst pulled it off in clean, streamlined silhouettes. Unlike many of the summer resort collections, he approached the collection with a sense of humor and a desire to rescue the audience with sartorial escapism.

Where did you study prior to Central Saint Martins?I did my BA in Arnhem, in the Netherlands. It was great because it is a secluded little city in the middle of a national forest and there is absolutely nothing to do besides the fun things you get to do when you’re an art student.

What was the inspiration for your MA collection?The central idea of the collection was taking an archetypical garment and dragifying it on a very low budget. Inspired by The Cockettes and the drag queen Divine, I came up with the idea of using second-hand nylon petticoats and appliquéing them onto Hawaiian shirts, Bermuda shorts and Capri trousers. It is all part of a ‘holiday wardrobe’, which together with the transvestitism echoes the theme of escapism.

What were the references for the prints and the use of layered fabrics? The use of Hawaiian shirts and its prints is a reference to escapism, exoticism and going on holiday. Also, I like the sexual ambiguity of Hawaiian Shirts. It’s a play on the so-called ‘Boyfriend jacket’ that has been so fashionable. Yet, this version is more a ‘Big fat Western tourist in Bangkok’ jacket. The print itself is based on original Hawaiian prints from the 1940s.

The nylon petticoats reminded me of Tao or Comme des Garçons, are you influenced by these Japanese designers? Obviously as a young fashion designer I am influenced by the anti-establishment spirit that Comme des Garçons has always represented. I also think it’s the duty of any young designer to at least try to be subversive. The use of second-hand nylon petticoats were inspired by John Waters and the Dreamlanders and how they used to steal from San Francisco’s vintage shops to create their outfits on a very low budget. Needless to say, I’m a huge John Waters fan and I am always on a very, very low budget.

What inspires you? I always spend a lot of time in the library researching, for my own work, but also for other labels. My own ideas develop by making, doing, trying and testing. I’m very hands-on and I hate thinking about stuff too much. Even though there are a lot of references that I use to explain the choices I’ve made, most of all I want my clothes to be light-hearted and fun, but straightforward.

What else are you working on at the moment? I’m starting my own studio, developing prints, fabrics. I am also starting on making furniture, so that’s very exciting!

i also find an interview of him,

how ""TRUE"" he is!

SCHOOL IS SUCH A NIGHTMARE!!!!!!!!!!!!!

Come to his website ""'www.maartenvanderhorst.com"""for more surprise, his tumblr is great too.

Defineus NINE

2012-02-07T00:35:00.000-08:00

Farhad Moshiri

2012-02-01T05:47:00.000-08:00

1963 born in Shiraz, Iran.

Lives and works in Tehran.

“Text became a shortcut for me to reach a certain emotional level. I noticed that text had an effect on people that an image never could,”

“I’m sure my subjects come from some childhood hang-ups that I might not have worked through. A psychologist could explain this better than me.”

“They are my paint. They’re even more valid than paint.”

“It makes it easier for people to understand a work when you give it human characteristics,”

“Things were adventurous, my imagination was running wild. The energy was incredible. To imagine an aesthetic that is completely run out of this world. Nothing was held back. Everything was unchained.”

“An artificial make-believe lifestyle fascinates me. I use fake diamonds in paintings, and that’s somehow related to the fact that some people want to believe that they’re real diamonds. Art is about illusion. It’s a manufactured idea in order to reach a certain illusion and expression via artificial methods… so suddenly the whole thing makes sense. We’re all in the same boat.”

Chan Hwee Chong

2012-01-31T02:13:00.000-08:00

No ideas of who he is and where he comes from.

how an amazing work done by a 33 year-old designer and father of two.

Emma Bennett

2012-01-31T01:50:00.000-08:00

The paintings are about time, our span of it as living things, the nature of the void we come from and to which we will – or will we? – return. As Bennett says, ‘there is a clarity about the start of life, but an ambiguity about the end’. There are lots of oppositions to get our heads around: life / death; night / day; dark / light; stillness / movement; abstraction / representation; control / spontaneity…. They’re all built in.

Emma Bennett (Born1974) 's contemplative paintings are contemporary manifestations of the classical idea of the memento mori. By depicting fragile life forms such as flowers, fruit, small birds, fish and hunted game set against dark, monochromatic grounds, the artist engages with notions of time, transience, life, death and life after death.

Still life forms are appropriated from art historical sources but are recomposed and set out of

context. Combined with expressive techniques within and against the monochromatic fields, Bennett introduces a set of dichotomies that create tension and dynamism: figurative and abstract; modern and classical; fast and slow; surface and depth; instinctive and predetermined. This new set of paintings also begins to explore the energy and momentum that propels all things through space and time. Composition and fluidity of paint suggest a gravitational pull of elements through a spatial void, with the once fecund but now expired conjoined or about to collide. And the work seeks to portray the potential of these energies continuing beyond life: we are therefore presented with the certainty of a beginning and the ambiguity of the end.

Vincent Olinet

2012-01-20T21:45:00.000-08:00

‘‘I like to make shiny, colorful art pieces that appeal to our dreams and urges but actually deal with decay or disillusion,’’ says the Brussels-based artist Vincent Olinet.

Decay is the stage of existence.

Vincent Olinet experiments and makes his works as objects-toys in transit between the real and the imaginary. Fascinated by the making of the merveilleux, he carves into the real and confer it the excess of a dream. He chooses his subjects for their emotional power, their potential to speak universally, and shapes them to amplify their sculptural nature. His models become two-face figures, protagonist and stage, playing with both an attractive and repulsive perceptions, developing the confusion of truth and falsity.

Vincent Olinet works in a variety of mediums from sculpture, photography and mixed media to large scale installations. Olinet attended l'Ecole Nationale des Beaux Arts in Lyon, France, 1999-2005 and Rijksakademie in Amsterdam, Netherlands from 2006 - 2007. He has been the recipient of numerous awards including the 2005 Prix Pézieux and 2004 Charles Dufraine sculpture prize from l'Ecole Nationale des Beaux Arts. Olinet lives and works between Brussels and Singapore.

Source: http://www.laurentgodin.com

Adrian Ghenie

2012-01-09T03:50:00.000-08:00

Born 1977 Baia-Mare, Romania

Lives and works in Cluj and Berlin

Adrian Ghenie is a young Romanian painter whose works demonstrate his fascination with history and the trauma of dictatorship. The sources for his images are derived from a combination of his own personal memories and from historical books, archives and both documentary and fictional film.

Ghenie plunders visual history via disparate avenues - archives, history books, cinema, painting, YouTube and Google - to build his dense, multi-layered paintings. His preparations are intriguing in their ebb and flow between fact and fabrication. Once images are selected from different modes of representation, Ghenie creates collages with printed images that are overworked and embellished in paint. Sometimes he turns stills into cardboard models, creating a kind of mini film set, tangible, with shifting light and relative scale.

Cinema’s aesthetic preoccupies Ghenie, particularly the moment cinema developed its own unique qualities: when scenes were created, seen and understood as nothing but filmic – movement, light, structure, genre, and moments repeated in different productions to the point of cliché that could not be separated from that medium, just as the surface and qualities of a Caravaggio can only really exist in paint.

Ilovefakemagazine-Celebrating the spirit of youth

2011-12-31T03:02:00.000-08:00

Ilovefake Magazine is a digital bi-monthly magazine mixing fashion, art & culture. Celebrating the spirit of youth.

We are..

We are independent artists and publishers who are looking beyond a conventional method of distribution and production, hence the online format. We constantly reinvent ourselves and always want to encourage creativity. Our goal is to be an inspiration guide worldwide in the fashion and culture industry.

Our readers...

Our readers are young people (age 16 - 40) with good taste, who are interested in fashion, art & design, they are opinion formers and define brand credibility. More than usual our readers are style leaders, they are either working or studying in the fashion or art industry.

http://www.ilovefakemagazine.com/index.html

http://ilovefakemagazine.blogspot.com/

Sometimes what we need is youth and talent

Just like what Jeremy Scott said

"Fashion shouldn't be a church that you pray to"

why not to have some fun on it

Ilovefakemagazine is really great

It's worth for you to fall in love with it

Also, i hope one day i can send my work to them.

You,too.

Happynewyear;)

Hospitality

2011-12-23T18:40:00.000-08:00

Formed by vocals Amber Papini, drummer Nathan Michel and bassist Brian Betancourt, Hospitality is one fine indie-pop band from Brooklyn, New York. Catchy tunes, easy and fun. The group will be launching their self-titled LP in January via Merge Records. Check them out.

Hospitality

Yo Gabba Gabba !!

2011-12-23T03:11:00.000-08:00

Yo Gabba Gabba! is a fun live-action program for young children ages 1 and up. It is an American children's television show which created by Christian Jacobs (lead singer of the Aquabats) and Scott Schultz and produced by The Magic Store Productions and W!LDBRAIN. Among the varied animation sequences during the show is Super Martian Robot Girl, designed by indie cartoonists Evan Dorkin and Sarah Dyer. The toy models of the characters that appear at the beginning and end of each show were made by Kidrobot.

Here is a song of Christian Jacobs in the show. (HaHa, He is fun, right?)

Unlike most children’s shows, Yo Gabba Gabba was not developed by network executives. Instead the show was developed by two Southern California fathers with no previous experience writing for television let alone children’s broadcasting or education. They simply shared a mutual disappointment in kids’ television. They both wanted to design a kids' show that was entertaining while featuring real artists and real performers. The pair first started working together as teenagers, producing and directing skateboarding videos.After doing some odd jobs here and there, Jacobs and Schultz decided to try something different.

In 1999, after becoming parents themselves, the pair started playing around with ideas for children television. They later produced a pilot independently financed by small loans from friends and family. Even after producing the pilots, Yo Gabba Gabba did not get much attention until it started circulating on the internet. It happened to get viewed by Jared Hess, the director of Napoleon Dynamite andNacho Libre, who then phoned Brown Johnson, the executive vice president and executive creative director of Nickelodeon Preschool and told her to check it out. As soon as she saw it she said, “Lordy, nothing else looks like this on TV”.Yo Gabba Gabba finally found its home on Nickelodeon on August 20, 2007.

In its first two seasons, the show featured a wide variety of guests, including Jack Black, Leslie Hall, The Shins, The Aggrolites, Andy Samberg,Cornelius, Biz Markie, Shiny Toy Guns, Supernova, Mark Mothersbaugh, Rahzel, The Postmarks, Sugarland, Tony Hawk, The Roots, Low, Laila Ali, Elijah Wood, Mýa, The Salteens, Sean Kingston and series co-creator Jacobs' band, The Aquabats. In the second season guests included such bands as Enon, The Clientele, Datarock, Joy Zipper, Of Montreal, Chromeo, My Chemical Romance, Hot Hot Heat, Mates of State, MGMT, and The Ting Tings.

Here is an interview of Yo Gabba Gabba!!!!

What are your earliest musical memories?

Christian Jacobs: Early on, my dad only 45s from the 1950s. Kinda wacky songs like "Alley Oop" or "Yackety Yak." There'd be songs that were like "news report" mixes, where they'd have spoken "news report" mixes interspersed with silly music, sort of like Dr. Demento. Children gravitate to the more silly things.

Then I listened to a lot of radio in the '70s -- DEVO, Blondie, the Clash, stuff that was different from what else was being played. I was drawn to the green hair, the spikes -- the media helped with that interest...

How about your TV memories?

A bunch: Sesame Street, Electric Company, ZOOM, Mr. Rogers... it was a golden age of kids TV. Daily feasts -- it was all new, there were no studies saying watching TV is bad. We'd watch PBS all day as a kid, then run outside.

It was really a different time as a kid. There was lots of freedom to be a kid without adult supervision. Those shows, that freedom, really resonated with a lot of parents our age. Yo Gabba Gabba! strikes that chord, I think, helps bring back that freedom.

Reminds me how I used to walk nearly a mile to my kindergarten along a relatively busy street... I don't think I'd let my kids walk that route today...

It was definitely a different time, yeah. I'd at least be a little scared. So with the show we're going backwards a little bit, trying to capture that feeling of imagination and freedom.

Was your conception of Yo Gabba Gabba! music always to include guest stars?

It definitely evolved. We wanted to have different musical styles represented in the show. But once we brought in Biz Markie in the pilot, we started thinking about about bands we could bring in. We were a little reluctant -- I remembered how a lot of times I'd just tune out the two-minute musical montage in Scooby Doo where they'd have some band. So how could we integrate the bands into the show? That's when we came up with the idea of the Super Friends Music Show, with the TV set. It was an organic thing.

How has the process in getting artists change -- did you ever anticipate getting the Flaming Lips to be on the show?

In the beginning, we went to friends to fill in the gaps, or our own bands. And then we decided we'd send some requests to bands we liked. When folks like the Shins, and Cornelius, and Sugarland said "yes" right away, they made it OK.

With bands, managers or agents serve as a filter for requests; we'd actually written to the Flaming Lips when we first started and didn't hear back. But at some later point, they called and said, "We want to do this, we're fans, what can we do to be on the show?" At some point our schedules finally matched.

At this point bands that have been on the show are really big fans or have kids who are fans. They matched the show's energy level, they're giving really good performances.

I think that's a strength, actually -- you're not going to try to get somebody like Madonna because she's a big star. I mean, you had somebody like Jack Black on the show, and he's a star, but he fits with the show, and you're probably really big fans.

You know, I was talking with Tom Hanks at an awards show recently, which was by itself just cool. But he was saying, you know, my kids are grown now, I really don't know your show. Compare that to Anthony Bourdain, he was a huge fan, and came on the show. If he's not invested in the show, who cares about the performance?

How do you go about selecting the musical acts for the tour (since they're not always the same folks who've appeared on the show)?

Well, usually we start in the area. Like, who is local that could make an impact. It's hard to lock down people out on tour, for example. But we've had some great bands and guests on the tour and guests that have a local relevance to the cities.. Like Bootsy Collins in Cleveland, Run DMC from NYC, Zac Brown Band from Atlanta and so on. We always shoot for the moon, and sometimes we get really close!

What's up next for Yo Gabba Gabba generally?

We have our fingers crossed to start on a season 4 and we are working on a script for a movie. Pretty big plans for a pretty little preschool show! Ha!

This is the current "A Very Awesome Christmas" from Yo Gabba Gabba show airs on last Sunday, How people can imagine My Chemical Romance will perform in the show for Christmas.

This is a gift for all of you, Merry Christmas!

Mondongo

2011-12-21T01:37:00.000-08:00

In Spanish, the word “mondongo” means tripe, or the lining of a cow’s stomach. The word “Mondongo” is also a stew we love, and we are like three witches stirring it up in a cauldron: revolving and expecting and trying and experimenting; attempting to alchemize, to distill, and ooze all the chaos, and the all possible “all-ness” in it . . .

— Mondongo, 2008 (from the Mondongo Manifesto)

Mondongo are an Argentinian art collective consisting of Juliana Laffitte, Manuel Mendanha and Agustina Picasso, who founded Mondongo 1999, are not only partial to the stew, but make their work from a „cauldron“ of ingredients: „ We've used a huge variety of materials in our art, depending on what best reinforces the concept oft he work,“ says Manuel Mendanha, 34. „It’s always a process of experimentation until we finish it. We’ll keep experimenting with materials‘ til death comes!“

In Mondongo’s world all is up for deconstructive terrorism—the miserable ambitions of the ego, social hypocrisy, the slight satisfactions of sex, what’s left of the family, the murderous ideology of a victim satiated world.

The amount of work Mondongo put into each piece is extensive, and both intricate and beautiful. They are literally paintings without paint—using such materials as thread, beads, plasticine, cookies, and glitter, to name of few. Production is slow and deliberate as the material and concept are intricately jelled: the materials used as metaphorical adjuncts to the concepts.

Materials list from previous works by Argentinean artist collective, MONDONGO: fake pearls, matches, studs on leather, jawbreakers, beads, colored mirrors, thread, wax, Oreo cookies, biscuits, Ritz crackers, hair, feathers, resin, and meat. With their diverse medium, Mondongo creates visually flirtatious and intellectually intense imagery. Their subject matter is rampant—pornographic pictures downloaded from the Internet and recreated with cookies and crackers, female nudes with taxidermic cat heads, a Plasticine Little Red Riding Hood, and a meat series inspired by Rembrandt’s “A Woman Bathing in a Stream.”

I'm so sad today, can i have fun?

2011-12-20T04:05:00.000-08:00

Let's go yogabbagabba.com/ with me and have more Fun.

“Don’t Worry Everything Is Going To Be Amazing”

2011-12-18T20:29:00.000-08:00

Love it and share it with you

DEFINE US EIGHT

2011-12-16T06:38:00.000-08:00

HAVING FUN!!!!!!!!!!!!!!!

Maurizio Cattelan

2011-12-07T08:18:00.000-08:00

(September 21, 1960, Padova, Italy) is an Italian artist based in New York.

He did not attend art school but taught himself. He worked as a cook, gardener, nurse and mortuary attendant, before turning to making art with the hope that the art world might offer him ‘better treatment’. He began his creative adventures by making furniture for his apartment - ‘functional furniture with art meaning’.

His art often combines sculpture and performance. Cattelan has a subtle sense of the paradoxes of transgression, the limits of tolerance. Since the early 1990s, his work has provoked and challenged the limits of contemporary value systems through its use of irony and humor. He teases the art world without ever falling into the naive trap of thinking he can subvert a system of which he is part. The characters and personas inhabiting maurizio cattelan’s world are ghostly appearances in a personal theatre of the absurd: policemen flipped upside down, stuffed animals hanging from the ceiling, a swami who buried himself in sand for hours at a time ... suspended between reality and fiction, Maurizio Cattelan’swork simulates and subverts the rules of culture and society in a continuous game of detournement, acts of insubordination and symbolical theft. Constantly exploring different materials, contexts and strategies, he refuses to take any moral or ideological position, concentrating instead on reproducing reality in all its complexities. while he does not offer solutions, he shows that one can survive and use the system without being consumed by it.

Nikki . s. lee

2011-12-01T07:55:00.000-08:00

(born 1970) is a Korean American New York City-based artist and filmmaker.

Lee's most noted work, Projects (1997–2001), begun while still in school, depicts her in snapshot photographs, in which she poses with various ethnic and social groups, including drag queens, punks, swing dancers, senior citizens, Latinos, hip-hop musicians and fans, skateboarders, lesbians, young urban professionals, and Korean schoolgirls. Lee conceives of her work as less about creating beautiful pictures, and more about investigating notions of identity and the uses of vernacular photography.

Tell us about how you started doing your work. You went to art school in Korea, right?
Nikki S. Lee: I went to photography school in Korea. [In New York] I went to FIT and NYU, both for photography. At NYU I had an assignment to make something for myself. And I was trying to figure out what I wanted to do because I was really tired of fashion photography.

How did you come up with the idea?
Nikki S. Lee: I had the idea about ten years ago in Korea, but I thought it would be too difficult so I forgot about it. I remembered it when I was looking for a concept to realize. At the time—’97, ’98— people were into simulacra. I was thinking a lot about simulacra and fake documentaries and I was interested in seeing how I could combine all those things.

How much thought do you put into the production aspect of your work? It looks extremely thought-out and “professional,” but you don’t seem like the type of person to spend a lot of money on printing costs.
Nikki S. Lee: When I first started I had no money because I was a student, however, I also don’t think that high-cost productions and expensive works are necessarily good. Of course, there is good work that cost a lot of money to produce but I don’t think it at all matters how much was spent. The important thing is how conceptually good or bad the project is. I like efficient projects because I like seeing the greatest outcomes with minimal effects. Like I said, I was a student with no money so I thought a lot within that limited space. I also like projects that involve many layers; at first glance they might seem like very simple projects, but as you dig deeper you discover many stories and layers within.

What kinds of still cameras do you use?
Nikki S. Lee: Actually, I’ve only used old, manual snapshot cameras. I’ve used too many different versions to list, but they all only had a simple shutter to click on. Even now I don’t use a digital camera, and I actually don’t have a camera of my own—not even a little digital camera or iPods that people carry around. Sometimes I panic when I want to take a picture while I’m walking down the street or something, but I’m not an avid photographer on a normal basis. When I need to photograph something, I hire a photographer.

Why do you think people can relate so well to your artwork?
Nikki S. Lee: Because it’s really easy to understand. Basically people see my work, and they get the concept right away because it’s easy.

What’s your concept?
Nikki S. Lee: It’s basically changing yourself and adapting to different cultures, and taking snapshots of people and situations. This Asian woman changes, and changes, and changes. It weird, but it’s really simple to understand. Plus it speaks to people’s fantasies about becoming other people somehow. They want to live other lives.

I like that the work has multiple layers, and people approach it from different angles. They see the different perspectives.

Identity is a constant theme throughout your work. How does this influence who you select to appear in your images?
Nikki S. Lee: Well, all of my work so far has required the active participation of people. I think that’s mostly because I like to work with the idea of identity and my views toward it. I think the other people were important for me to identify my own identity within the relationships with those people. In Buddhism there’s a saying that goes something like “I can be someone else and that someone else can be me as well.” Thoughts like this one—thoughts that cause you to view yourself in other people’s shoes—were my main focus, so the people play a significant role.

Were the projects more about you or the people?
Nikki S. Lee: It’s about me. The question is about me, but to show me with the other people in the project becomes every much significant. The identity question of myself requires me to look at the relationships with myself and other people.

What kind of work do you yourself like or appreciate?
Nikki S. Lee: I don’t like work that’s very serious on the outside, but not serious on the inside. [Some things] look really heavy and serious, but when you read into it carefully, sometimes it’s not. I hate that. So I like ideas where it looks simple and easy to understand, but when you look really carefully, the concept is very serious. I like that kind of work.

Androcles and the Lion

2011-11-27T08:36:00.000-08:00

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://androclesandthelion.bandcamp.com/track/beautiful-things"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Beautiful Things by Androcles and the Lion&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

Androcles and the Lion from Athens, Georgia in

U.S.

was formed by McKendrick Bearden and Austin Harris in August 2010, later joined by Paul Stevens. The group recently released their debut EP, As Far As Blindness Could See, in summer 2011. Listen to their songs here :)

Here is the interview with Androcles and the Lion

Chiharu Shiota

2011-11-12T00:30:00.000-08:00

1972 Born in Osaka, Japan　
Lives and works in Berlin

"I make art because it gives me the feeling of being 100% at peace with myself."

"I dont know exactly where Im going but its probably anywhere where I have the feeling that it isnt here."

"When I dream that Im in Japan, then I have the feeling it is Japan. The dream is like reality, not like the man who turned into a butterfly in his dream, I feel the dream as reality. I cant distinguish between dream and reality. When I wake up, I have the feeling I'm still dreaming."

"But the silence remains.

The more I think about it,

the stronger it is.

The piano loses its sound;

the painter no longer paints;

the musician ceases to make music.

They lose their function,

but not their beauty--they become even more beautiful."

Here is an interview with Chiharu Shiota by didi kirsten tatlow

,performance for the planet, summer 2001, p. 20-27

(ai): What role does your family history play in your art?

CS: In my work I´m seeking my own birth, where I came from. Where I come from is one of my main themes. I did a performance called Bathroom, where I cover my skin in earth. Wet earth. And I wash my body. But I always have the feeling that I´m not clean yet. That´s like my own

history. I can never wash away the memories that are in my skin. You can never bet that clean. Where I was born and from which my parents, what´s on the papers and my passport – you can never get away from that.

(ai): The German idea of Heimat, which means home, or belonging somewhere, is a central theme for you. Yet you have traveled widely, from Japan to Australia to Berlin. What was the impact of these changes of place on you and your art?

CS: I did a work called Dreaming Time that is a house. There are lots of shoes in front of it pointing away, but they´re tied by red thread to one point in the house. This is exactly what I

mean. It´s a house, you can go away, but these threads still tie you to your homeplace … My

ancestors lived in the country, in a place called Kouchi. My family was there for a long time and married their own cousins a lot. When I was sixteen I went to Kouchi for the first time on holiday and I asked – where is the Shiota family? And an old man said, „It´s all Shiota here!“

(ai): Your family then moved to Osaka and became urban. But is the relationship with the countryside still important for you?

CS: Yes, it´s not that long ago. I exhibited a work in Hanover that was composed of photos of

hundreds of my cousins. They´re all Shiotas – some of them are dead already but others are still alive. My grandmother and grandfather died three years ago. They had a very big funeral. I took photos then. I photographed about 100 people. Then I got pictures from family albums and wrote to others in the family for their pictures and collected them like that. I have a dialogue with these pictures.

(ai): What is it like for you living in Berlin? Do you feel a sense of alienation?

CS: It´s a comfortable life here as an artist. It´s funny, when I travel elsewhere in Germany to do an exhibition, I´m suddenly a "Berlin artist“. Not a German artist, not a Japanese artist, but a Berlin artist. Berlin is a magnet in Germany for artists, and it´s also attracting people from overseas.More tha, say, Munich.

(ai): What is it that draws artists here?

CS: The town is in motion. The people are in motion. You can´t pin it down. It´s constantly renewing itself. There are constantly new streets being built. New buildings going up. New

people around. There´s always fresh air around.

(ai): New things, fresh air, are those things important to you as an artist?

CS: Well, it´s hard to say, but I did choose to come here, to work here, to live here.

(ai): You´ve been in Germany since 1996. Did you ever think of moving on?

CS: I don´t know. I´m really not sure… I´ve moved nine times in the last three years. Sometimes when I wake in the morning, I have a tremendous feeling of insecurity about where I am. Where I ´m sleeping. Then I get afraid.

(ai): To what extent are you aware of trying to articulate something for your generation, or are you more concerned about saying something about yourself?

CS: The things that are more important to me are where I sleep, where I eat, what I think, more

than speaking for others.

(ai): So a more individualistic approach.

CS: Yes, yes. My recent exhibitions have been called things like Heimat, Continental Shifts,

Strange Forms. They´ve all been about being a foreigner.

(ai): And therefore also about the idea of home?

CS: Yes. Everything is about Heimat. I live here. I´m from Japan. I´ve moved home nine times. This is my life. But I find my nationality plays too big a role in my work here. Yes, I´m from Japan. But I don´t need to be put in that box.

(ai): Does it disturb you that you´re described here as a "Japanese artist“

CS: Yes, it does… I was born in Japan. But I live in Berlin and I work in Germany. For instance, I took part in an exhibition in Holland recently. It was called "The world from Germany´s point of view.“ I was one of four artists that took part. The other three were German-born. But I was there too.

(ai): So you felt, "I live in Berlin, I work in Berlin, so I´m from Germany“ – at least for this exhibition.

CS: Right. But often, when there´s a show here, people who come to look think: „Ah, a Japanese artist!“ and that makes me … smaller. It´s true that I have a Japanese name, I´m called Chiharu.They can see it next to the work. But that´s just a detail. And then you´re invited somewhere because you´re from Japan.

(ai): Why do you think people here in Europe seem to need to put Asian artists in a "place of origin“ box?

CS: I don´t know, but I do feel sometimes like I have to be "more“. I have to be more, in order to

get past this.

(ai): Does that count for artists who are born and raised here too?

CS: Well I think, say, for artists from China, it´s really important to them that they are from there. But for me it´s too heavy. It´s too heavy a burden. My own Heimat, that´s inside, a personal thing. Art is a Heimat. And looking for it is what my art is about. The question is – where is my heart?

(ai): When I saw Bathroom (1999) at the Haus der Kulturen der Welt here in Berlin, two young girls who were about twelve years old asked me what it was about. So we stood together in front of it and one of them said: „Eeew, didn´t she have any clean water to wash herself with?“

CS: That was a good question. I wonder too – why can´t I find any clean water to wash with?

The piece has nothing to do with being clean. It´s about feelings and being born. About not being able to wash away that. About how you can never „finish“ with it. About the endlessness of that.

(ai): So what´s interesting is that the girl thought she didn´t get it at all. She said she didn´t understand what you were doing. But still she asked the right question.

CS: Yes. When I was collecting old shoes for my installation Dreaming Time, it was the summer. I had to buy a lot of shoes from the flea markets and carry them home. I didn´t have a car, I had to cycle home with them all. It was hot and I got pretty fed up. But I collected them all and one day a bunch of kids came and stood around, looking at my pile. They were marveling: „Wow, so many shoes! What are you doing with them? I´d also like to play with so many shoes!“ And I said: „Well,you can, if you become an artist!“ And they said: „Huh, we want to become artists too then.“ It was a kind of support for me. If you want to play with shoes, you can become an artist. It´s very simple! (She laughs.)

(ai): Can you single out any major artistic influences on your work?

CS: Ana Mendieta is a big influence on me. She had an argument with the people she lived with,then jumped out of the window. She was only 38. In her work, she played with death all the time. And that interests me too. How she wanted to unify her body with the universe.

(ai): Is that also something that interests you?

CS: Yes. I want to be something more than language. I want to bind the body with the universe.I´m looking for how to connect my body to the universe.

(ai): You began exhibiting when you were very young, just 20. What did you show?

CS: It was paintings. I studied painting. But I don´t paint at all anymore. That all belongs to what I call my "technical phase“, when I just became a brush, an eye, and paint. There were no

feelings. Just technique. And I went through a six-month phase where I felt trapped. I was just

walking on the spot. I had no art in me. I was trapped.

(ai): How old were you at the time?

CS: About 21. Then one day I went to a museum, it wasn´t an art museum, it was an ethnographical one. It had figures and artifacts from Africa. And there was color. Bodies. It was

art and life joined. I felt it had something to do with my life. It changed my life. Those six months were very, very difficult. I thought I was at an end as an artist. That was the question. And I did go on, like this, as I am now. It was a breaking point. The painting had become meaningless.

(ai): You went to an art high school. What was it like growing up with the Japanese

education system?

CS: In Japan every child is under a lot of pressure from a young age. To work hard, to work well. I´m the third child. I have two older brothers. In Japan, men are always more important – so I as the third, and a girl, I could pretty much do what I wanted. It wasn´t so important what I did. I ended up with more freedom. My brothers have a very "normal“ life. Two kids, they live together with my parents in one house.

(ai): How important is it to you to go back to Japan from time to time?

CS: I always think I want to go back to Japan. To see my friends, to see Japanses films. But

when I´m there, it´s always different from what I expect. Everything is smaller. Completely

different from what I´m expecting. I feel like I´m putting on old shoes that don´t fit anymore. And

then I start thinking – I´m glad I´m going back to Berlin.

(ai): The artists in Translated Acts are from across Asia, from Korea, Hong Kong, Japan. What do you feel you have in common with these other cultures, which are so varied?

CS: It´s very funny, when I saw what the others were doing, I realized a lot of it had to do with

inflicting bodily pain. They squash their bodies, or have bread thrown at them, or one guy went

to jail for one year.

(ai): Why is that?

CS: I think it´s because of some shared religious or cultural values that are connected to pain. That through pain you can attain consciousness and achieve something greater than consciousness. That higher stae is something that comes from the body.

(ai): But your work seems to be less focused on bodily pain. Doesn´t it interest you?

CS: Yes, it does. But the pain is more the pain of feelings than of the body. It´s inside. Pain

doesn´t have to be physical.

(ai): You also show much less interest in technology, it seems to me.

CS: I think it´s true. I was born in 1972 and at that time, especially in Japan, normal family life

centered around machines, around the TV, the stereo. Now it´s the computer. But when I was a child I played more with earth, with flowers. I didn´t play much with plastic toys.

(ai): Did that make you something of an outsider?

CS: No, I don´t think so. But it´s true I don´t work with such a high degree of technology. I think

when there´s a lot of technology in a work, then that might be interesting for the artist, but the

audience isn´t involved. It´s about him, the artists and his technology. For example, my brother

bought a new computer. I could only watch. I couldn´t approach him. But he was interested in his new computer. It was something for him. That´s what I mean.

(ai): Where would you go if you move on?

CS: I want to stay here for the moment. But I´d like to have a slower life. Since last September

I´ve done lots of exhibitions. One week there to set it up, then back to Berlin to write letters and things, ten days there again. Enough of that. By April 1s t I was finished. I want to stay in Berlin now and do some shows here. But then suddenly I also got afraid. I had been so busy, then the being-busy came to an end. Last week I became afraid of showing my work again. It snowed, it was Easter, and I was depressed. The very thought of showing my work or of working made me scared.

Define us SEVEN

2011-11-09T11:36:00.000-08:00

Just for fun

Lukasz Wierzbowski

2011-11-05T10:44:00.000-07:00

Please tell Lukasz I have so much love for his photography - girl's face behind the flower pot, hair over unknown faces, human attempts to blend with the nature, hidden under the car ... quirky, fun and emotional. Some photography just makes you love at first sight. It is such a pleasure to look at Lukasz' pictures.

Lukasz Wierzbowski, better known as Neon Tambourine on Flickr, is a Polish freelance photographer insisting on shooting in film only, currently living and working in Wroclaw, Poland. He was the one who always wanted to study history of art, but instead he became a dental technician, and after that he started studying psychology, only to realize that the only thing he truly loves is photography.

Lukasz' works become popular hits on tumblr and flickr. It was his father who first introduced him to film photography by showing Lukasz (age of 12) how to operate one of the old rangefinder cameras he owned.

Lukasz drew inspirations from what he experienced and was hoping to collaborate with aspiring young fashion designers. His recent commissioned work from Urban Outfitters is absolutely mesmerizing.

We are delighted to talk with Lukasz about himself

Visit his amazing blog

Ada Sadler

2011-11-02T05:40:00.000-07:00

Statement

Look for a long time at what pleases you,

And for a longer time at what pains you.

- Colette

Since 1996, Sadler has focused on painting unoccupied chairs – the emptiness of

which strikes her as both personally and symbolically compelling. Informed by photographs

she has personally taken, Sadler does not try to create photorealist paintings but instead uses

these images as a literal base. These images are developed and clarified, multiple and

complicated memory associations are evoked and subtly contribute to the quality of the

paintings. The empty chair is rich in symbolism, simultaneously creating a presence and an

absence.

Each painting is created with an extremely fine brush applying thin layers of oil,

giving the final painting a luminously smooth finish. Sadler’s scale is similarly detailed, each

painting in this exhibit varies between six and nine inches square. Her interpretation of the

everyday object is extraordinary, taking on very personal spaces amidst the familiar places

she uses as inspiration.

Ada Sadler currently lives in San Francisco. She received her BFA from the

University of Kansas in 1976. Her work has been exhibited at the Triton Museum of Art,

California Museum of Art, The Haggin Museum, and is also held in private and public

collections throughout the United States.

Li Wei

2011-11-02T04:06:00.000-07:00

(born in 1970, Hubei, China) is a contemporary artist from Beijing, China.

His work often depicts him in apparently gravity-defying situations.Wei started off his performance series, Mirroring, and later on took off attention with his Falls series which shows the artist with his head and chest embedded into the ground. His work is a mixture of performance art and photography that creates illusions of a sometimes dangerous reality. Li Wei states that these images are not computer montages and works with the help of props such as mirror, metal wires, scaffolding and acrobatics.

"My work and artistic experience are characterised by a unique specificity and particularity,"

"My artistic language is universal and deals with themes about contemporary politics and society using symbols understood by everyone in every part of the world."

"I am fascinated by the unstable and dangerous sides of art and I hope my works reflect these aspects."

"My favourite pieces are the 'Mirror' and the 'Li Wei falls...' series,"

"I began my career in the late 1990s, and is most like my Mirror 2000 series, which includes over 40 site-specific performance pieces."

"Using a large mirror, three feet square, with a hole in the centre large enough to accommodate my head and neck, I place my head through the hole and "project" my image onto various historical and urban environments."

"The philosophy that emerges from my work shows the independence of the spiritual values of Chinese artists and the internal peace of a culture."

"The first reaction is astonishment. Some people think they are full of sense of humour. They are curious about how I did this."

"Sometimes I am in real danger - I have to hang myself high with steel wires and people do get a little worried for me - but I am fine."

Li Wei sees his art as both a mission to set the scene for the perfect photograph and a perfect performance."

"Each photograph lies with a performance"

"For me, how to express myself and the process is more important. I don't care much about if that's performance or photography."

"I'll continue creating works in high places."

"I incorporated gravity as one of my main elements."

"In these, my body crashes like a meteorite in different contexts."

Julia Agafonova

2011-11-01T10:36:00.000-07:00

Julia Agafonova is only 21 years old, a young talented Russian photographer.

her blog + Flickr

Don't we all love a little bit quirkiness, a little bit eeriness ?

Liu Bolin

2011-11-01T02:28:00.000-07:00

(born 1973 in Shandong, China)

is a Chinese artist known for taking photographs of himself,

painted in order to blend in with the background.

He graduated from the Sculpture Department of Central Academy of Fine Arts in Beijing.

These series is called "Hiding In The City".

Liu said he wanted to show how city surrounding affected people living in them.

He added that the inspiration behind his work was a sense of not fitting in to modern society and was a silent protest against the persecution of artists.

He said: 'Some people call me the invisible man, but for me it's what is not seen in a picture which is really what tells the story.

'After graduating from school I couldn't find suitable work and I felt there was no place for me in society.

'I experienced the dark side of society, without social relations, and had a feeling that no one cared about me, I felt myself unnecessary in this world.

'From that time, my attitude turned from dependence into revolting against the system.'

Liu said he was further pushed on with his work when the Chinese authorities shut down his art studio in Beijing in 2005.

He said: 'At that time, contemporary art was in quick development in Beijing, but the government decided it did not want artists like us to gather and live together.

'Also many exhibitions were forced to close.

'The situation for artists in China is very difficult and the forced removal of the artist's studio is in fact my direct inspiration of this series of photographs, Hiding In The City.'

Liu's art credentials were formed after he graduated from the prestigious Sculpture Department of Central Academy of Fine Arts in China.

He said his work requires a lot of patience with him having to pose and work on his photographs for more than ten hours at a time to get it just right.

'My job is to choose a good background where I want to be "disappeared", and then stand there unmoved until a design has been painted on me,' he said.

'There are many people who like my work I think because my work has a quiet strength, in the photographs.

'I am standing, but there is a silent protest, the protest against the environment for the survival, the protest against the state.

'I wanted to photograph the reality of scenes of China's development today.

'My work is a kind of reminder, to remind people what the community we live in really looks like, and what kind of problems exist.'

Olivier Theyskens

2011-10-21T04:34:00.000-07:00

(born January 4, 1977 in Brussels, Belgium) is a fashion designer who has worked with several major houses, including Rochas, Nina Ricci and Theory.

It was so nice that I have a chance to meet Olivier in Lane Crawford yesterday. He is such a lovely person. He is one of the talents whom I really admire in the fashion industry. We both love him so much. He currently becomes the artistic director of the brand "Theory". Here is a video I would like to share with you. Let's take a look at Olivier Theyskens and see how he defines himself as a designer and also as a person.

Love Olivier Theyskens, love his personality, love his passion, love his design, love everything of him.

"Define us, but you can't. We can be anything."
This is not only for us , but also for Olivier Theyskens.

Define us SIX

2011-10-21T02:55:00.000-07:00

DefineUs 100, 2 of Us

2011-10-09T10:13:00.000-07:00

Zhe Chen

2011-10-04T20:05:00.000-07:00

Zhe Chen, from Beijing, China

is a LA-based artist/photographer

who studied Photography & Imaging in Art Center College of Design, CA

The photo series The Bearable (2010) is one of the documentaries of self-inflicted activities of Zhe and others focusing on body modification, human hair, identity confusion, post-traumatic stress disorder and memory in the past 4 years.

Stealing is your best vice

2011-08-27T09:31:00.000-07:00

"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don't bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: "It's not where you take things from - it's where you take them to."

- Jim Jarmusch (American independent film director)

Bermuda Bonnie

2011-08-22T22:35:00.000-07:00

Bermuda Bonnie is a music solo project by Rebecca Huston who currently resides in Brooklyn, New York.

Evil by Bermudabonnie

Define yourself
Imagine group of 15 best friends, all around age 11 dancing around on a hot beach at sunset, eating rainbow popsicles and dancing in perfect synchrony when an extraterrestrial life form beams them all up to a psychedelic space ship. On this ship, they find themselves in a technicolor dance all, with smoke, laser beams, and extravagant swimming pools. The aliens offer them the secret to eternal youth, which also comes with the ability to never have to rest to keep dancing, so they dance, and dance, forever.

Influence
Originally, it was The Smiths who inspired me to start writing my own music, but my influences sonically consist of Stephen Merrett, Fiery Furnaces, Of Montreal, Passion Pit, but mostly pool parties and rooftop sunrises.

Pros and Cons of being a musician
The "pros" of being a musician would have to be all the free traveling into space for alien dance parties, hover-boarding, unicorn riding, free snacks, and having an "excuse" for staying up all night long and sleeping all day. As for the "cons"? Having difficulty describing how awesome I am to non-alien lifeforms would have to take the cake.

Favourite Places
Aside from psychedelic technicolor alien dance halls in space ships (obviously,) I also enjoy remote deserted islands, any place with delicious mixed drinks. There was this one time when my Dad and I were on a shallow sandy "spot" in the middle of Lake Poygan when Daft Punk appeared and gave us a private show while we water-skied and danced. That was pretty sweet.

Feeling Lost ?
Oh I feel lost all the time, sometimes I wake up not knowing what planet the beach I'm on is.... I'm currently a beta tester for a new (top secret) Google Maps "galaxy edition" which has helped me a tremendous amount when I'm floating in space and trying to find where planet earth is. I often get lost in my music and don't know what direction is up, nor what direction is down. Sometimes I get lost in different dimensions and have difficulty understanding what "reality" is.

Best Gig
I bought this flash drive once that was sold as "1GB" but once I plugged it into my computer the actual memory of it was a whopping 1069 megabytes!!! That was definitely the best GIG I've ever had, since most of the time there is less storage than is advertised.

Three essential things
Swimming with fish in water, dancing with robots on the beach, and my personal intergalactic unicorn taxi.

Picnic or movie
Without a doubt I'd pick doobie, I am a big supporter of marijuana legalization and find it to be a great icebreaker when meeting extra-terrestrial beings, it brings people together and expands their minds.... what's that? you meant "movie" and not "doobie?" sorry, then definitely a picnic... obviously.

William Hundley

2011-08-21T07:07:00.000-07:00

(born 1976) is an American artist born in St. Paul, Minnesota.

He lives and works in Austin, Texas.

In 2006 he began an ongoing series of photographs that he titled “Entoptic Phenomena” in which he photographs people jumping underneath fabrics and other various materials. The instant of the jump can be thought of as super ephemeral sculpture, lasting only a few seconds before reverting to their base components. The resulting photographs appear to have been made by computer manipulation, but Hundley stresses that “they are just photographs” and that there were absolutely no computer applications used in creating the images. He goes on to say that having “acrobatic models” is the key to the success of the imagery.

In an article on Sight Unseen, Hundley is quoted as saying, “My work started with the influence of Erwin Wurm and Maurizio Cattelan, these absurdists. I love the practical-joke nature of it; if I can make humor and beautiful aesthetics come together, that’s the biggest powerhouse I can imagine.”

Chad Wys

2011-08-18T07:38:00.000-07:00

I was born in Illinois in 1983 and I still live and play there today.

Despite always having had the urge to grab a crayon or a camera, I'm something of an artistic recluse.

It has taken some time for me to get used to the idea of sharing my work.

As my voice has grown stronger with many things to say,

I have found the prospect of sharing experiences through art quite advantageous.

Incidentally,

many of the conversations in my own work are about art itself.

What does art mean to me?

What purpose does it serve in my life and in the lives of other folks?

What are the "boundaries" and

what are the "limits" of the art experience?

Deconstruction

is a major part of my thought process in and out of the studio.

Academically,

I am pursing a study of art theory and criticism and

I reward myself by writing about the problems

and

triumphs occurring in the art universe today as well as in the past—

I thoroughly enjoy taking contemporary ideas into the past and considering things in new ways.

In my writing

I use theoretical frameworks to negotiate

a more lucid and dynamic understanding of culture

and

how culture interacts with the visuality that permeates there.

A major strand throughout much of my work,

beyond the broader inquirers into what art means socially,

is the notion of object:

object ownership,

objectification of history,

objectification of people,

objectification of artwork

and

its many mediums; etc.

I often explore/exploit the idea of objecthood:

how we decorate our lives with arbitrary, as well as meaningful, things;

how we objectify the ones we love and the strangers we see;

how we objectify pain and death;

how we objectify complex and sensitive cultural histories.

My artwork is also,at its core,

an experiment in composition, color, and form.

Through a variety of mixed media I have chosen as my inspiration a color palette that is

at times complimentary and at other times destructively contradictory.

The literal destruction of an object is secondary to the overall effect created by color (dis)harmony and the overall aesthetic of the reclaimed and reinvented object/experience.

I openly play with the allure of foreign and aggressive new colors and forms into otherwise familiar and traditional settings.

Barriers and obstacles are thereby created between the viewer and the object through which

one must negotiate an understanding of what is both present and hidden.

My readymade works frequently deal with the re-contextualization of decorative art objects.

By retooling the object and then re-presenting it before the viewer I intend to add new layers to the conversation of the original object.

By reclaiming these objects I mean to acknowledge how our possessions (can) (do) define us.

In so many innumerable ways the bric-a-brac of our lives becomes a unit of measure of our own worth.

I enjoy infiltrating this territory of being

and

I revel in pointing to the superficial and the deeply intrinsic character traits in all of us.

—the artist, February 2011

Marlo pascual

2011-08-18T05:48:00.000-07:00

(1972 Born in Nashville, Tennessee (US))

Taking found imagery and film as a point of departure in her work, Marlo Pascual creates photo-based sculptures, installations, and images that employ strategies of artistic movements such as Conceptual Art, Surrealism, Minimalism, and Arte Povera.

Re-examining the viewer’s relationship to the photograph, Pascual is interested in exposing an image’s active presence by playing with the relationship between the work, the space, and the viewer.

By creating sites of engagement, whether that site is in the form of the domestic or the theatrical, the image is the catalyst.

Pascual culls her vintage pictures from eBay and thrift stores, some coming out of an amateur photography club where the photographers strive to take ‘artistic’ photos. They are of historical genres; still lifes, interiors and furniture, portraits, headshots, nudes, and pin-ups. When they arrive, the images are small, handheld, fetish-like objects.

In an interplay with the photograph’s own physicality as an object, Pascual then enlarges, crops, and re-stages the images using minimalist objects, props and lighting to form new relationships. Filtered through her imagination, the subjects are removed from their previous context and recast in new roles.

Andy Denzler

2011-08-18T04:11:00.000-07:00

(3rd August 1965 in Zurich) is a Swiss artist.

The art media he works with comprise

painting, printing, screen printing, graphic design, sculpture and drawing.

Andy Denzler’s works move between abstraction and reality.

With the classic means of oil painting,

the artist endeavors to fathom the borderlines between fiction and reality.

He presents his own perception of the world in his pictures. They are snap-shots of events that take place, blurred, distorted movements, Freeze Frames that stylistically move between Photorealism and Abstract Expressionism.

In his paintings Denzler frequently alludes to other media.

Titles and subject matter refer to films,

as for instance in One Flew Over the Cuckoo's Nest or Viktoria in The Birds.

His "Motion Paintings" are divided into four groups of works: "Portraits", "History Paintings", "Figures & Landscapes" and "Urban Figures". Andy Denzler translates them into painting, sculpture and drawing.

"Andy Denzler analyses the medium, the ideational and representational possibilities inherent in present-day painting with dedication and enthusiasm.

He has thereby secured himself an important and individual position on the international art scene and attracted the enthusiastic attention of collectors. (Tages-Anzeiger, 24 August 2008, translated from German)"

Karen LaMonte

2011-08-05T23:24:00.000-07:00

Born December 14, 1967

is an American artist known for her life-size sculptures in ceramic, bronze and cast glass as well as her large scale monotype prints.Her art deals largely with the central themes of beauty and loss, exploring the fragility of the human condition through a sartorial lens.

"The dress belonged to a moment when the wearer was, to use an expression of Proust’s, en fleur. The dress belonged to a certain moment of history, which it preserves—it shows how women dressed for certain occasions at a certain moment. The wearer will have aged. She looked like that then, but, if she is still alive, it is certain she will not look that way now. There is a double melancholy—the melancholy of fashion, and the melancholy of bodily change, from nubility to decrepitude. The breasts have fallen, the waist thickened, the skin has lost it transparency and luminescence. The poignancy of LaMonte’s dresses is a product of two modes of change in which we participate as human beings, composed, as we are, of flesh and meaning. Their poetry is the poetry of beauty and loss."

Ben Grasso

2011-07-23T10:31:00.000-07:00

Ben Grasso was born in 1979 in Cleveland, Ohio and lives and works in New York.

“With a palette that both augments the vividness, and thus the confusion, and even horror, of these unraveled, suspended structures, while amplifying to its sublimity, Grasso lends an unflinching eye in his depictions of the process of decomposition/re-composition. Through the gorgeously scrupulous conveyance of planks and frames and angles, these paintings are dedicated to the graphic description and analysis of a given emblem—the American home. As dissection sheds light on the anatomical relations among components, viewers get a snapshot of total havoc. And yet whatever might be seriously at stake here, the surrealism of the scene is always there to mediate the experience of viewers, and the images never fail to insist on their acutely wrought artifice“.

José Lerma

2011-07-22T11:54:00.000-07:00

Born in Seville, Spain, 1971

Lives and works in Brooklyn, NY

Article by Ester Ippolito and Monica Salazar from BerlinArtLink

Jose Lerma’s work relies on a compendium of mediums, references, and elements that combine his personal history and his extensive academic accolades to his awareness of social history. The artist originally migrated from Spain to Puerto Rico and now lives between Chicago and Brooklyn, and has multiple degrees in law and art. It is his ability to combine and collapse facets of history that is best presented in his works now on view in“I am sorry. I am Perry” at Andrea Rosen.

In his paintings, Lerma makes a trend of using images of Baroque style portraits of historical, famous French Bankers from the 18th Century, which are signified by the wigged portraits in some his studio pieces. He started drawing the characters over and over after shooting photographs of them while in law school. The pieces for this exhibition are monumental, somewhat decadent in liberal use of strokes, doodles and highlights of paint. The pastel colors add a lightness to the pieces that works well with the harshness of the profiles of these historically brutal, old bankers.

Lerma places his large works on electronic keyboards as a way of combining previous elements of his oeuvre and collapsing the work together. In a way, it is as if the paintings become active participants in the art. However, beyond this, there is no added meaning to the pianos, a fact stressed with the daily changing of the musical tones the pianos play.

Through the use of acrylic spray paint on canvas, he is able to reproduce the aesthetic of highlighters and pen scratchings on a paper pad in his monumental paintings. He uses this doodling as reference to boredom by taking the tiny gesture of a repetitious action and blowing it up, as evident in the droning electronic keyboard noise and the somewhat tortuous doodling.

Lerma’s paintings meld these several diverse mediums to create works that resemble portraits of bureaucratic figures from afar, but seem to be topographical landscapes from a closer distance. He has a way of building up hues of paint and juxtaposing them alongside flat planes of white paint or ‘doodles’ of spray paint. There is no justifiable pattern to this intersection of textures and it is this free use that makes Lerma’s paintings experimental.

Another aspect of his work is his ability to combine historical references without over-replicating them, for instance his swirled scribbles are reminiscent of graffiti, especially since the artist uses acrylic spray paint to create these large scale doodles. By distorting and often erasing the features of the faces, only leaving profiles or frontal views of wigs, Lerma’s work also references the paintings of Francis Bacon. This style has also been attributed to Philip Guston due not only to the distortion of figures, but to the use of pastel colors and the sketch-like quality of the drawings.

The hypnotic musical tones of the electronic keyboard and the meditative swirls of the doodles seem to counterbalance the stiff regulations of the wigged French bankers and the very controlled atmosphere of both the four-sides of the canvas and the white-walls of the gallery. Nonetheless, the reason for the accumulation of so many elements is never clearly elucidated by Lerma. This combination of elements does not deter both viewer and critic from enjoying works that Lerma effectively describes as “paintings and works about paintings, which attempt to collapse the historical and the autobiographical within a single frame.”

Jose Lerma discussing his current exhibition, “I am sorry I am Perry” at Andrea Rosen Gallery (Dec. 11, 2010 – Jan. 22, 2011):

“The title is the punch line of a joke I heard as a child in Puerto Rico in which an English-speaking fox and a Spanish-speaking dog bump into each other and exchange apologies. Their conversation embodies the resulting layers of meanings that stem from the inadequacies of translation.

My practice consists of finding ways within painting to collapse the historical and the personal. In this exhibition, I intend to create a narrative from a combination of 3 separate ideas that I have been working with over the past few years: the bankers, the reflective curtain, and the keyboards. What I hope emerges is a kind of “fourth reading”, one that cannot be immediately grasped or understood, but one that stays with you, and largely because of its inability to be immediately comprehended.”

On the Bankers:

“While I was still a law student, on my first visit to the Met, I encountered the bust of the French banker Samuel Bernard by Guillaume Coustou. Bernard had been one of richest men during the reign of Louis XIV. I shot a full roll of images of this work. I still have no idea why I did it; at the time I had no intention of making art or even being an artist. Many years later, I began to paint a series of abstract portraits, which loosely referenced those photographs. As with Bernard, I made paintings of two other financiers. One was Jacob Fugger, banker to the Hapsburgs and creator of the first public housing project. The third was John Law, a Scottish-born banker and economist who was responsible for creating one of the first bubbles and nearly bankrupting the French economy. I picked these men rather than more obvious choices (Rothschilds, Schiffs or Salomon Chase), because these figures were for me, at most, a point of departure. They’re faceless, lack likeness, and are an ideal space for formal invention.”

Jackson Pollock

2011-07-21T10:51:00.000-07:00

Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known as Jackson Pollock, was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality,struggled with alcoholism for most of his life and died at the age of 44 in an alcohol-related car accident.

A dripping wet canvas covered the entire floor … There was complete silence … Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas. It was as if he suddenly realized the painting was not finished. His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter … My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity? Finally, he said 'This is it.'

Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. There is not inside or outside to Pollock’s line or the space through which it moves…. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas.(Karmel 132)

"My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
"I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
"When I am in my painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.

-- Jackson Pollock, My Painting, 1956

And finally i really want to introduce this website to all of you: http://jacksonpollock.org/.Everyone better goes to try once. This is so amazing, i hope you will have fun on it, because i love it so much.

The Loose Salute

2011-07-20T07:57:00.000-07:00

Former Slowdive drummer Ian McCutcheon founded the dream-pop/country indie band The Loose Salute. Apart from drumming, Ian as a songwriter also plays guitar and sings in the band, together with Lisa Billson (vocals, keyboards, percussion), Charlotte King (harmonies, percussion, guitar, bells & whistles), Alan Forrester (bass, keys), Alden Evans (guitar, bass & lap steel) and Robert Jesse (guitar) the six-piece divides their time between London, Wiltshire and Cornwall, producing soothing folksy songs full of cheerfulness.

The band is currently signed to Big Potato Records in the UK and Graeface Records in the US.

Their second album 'Getting Over Being Under' includes 'Happy I Don't Count', 'This is Love', 'The Curse of Caring' and more.

We talked to Ian about some random facts about himself. Here is the interview.
The Loose Salute- Its a Beautiful Thing

The Loose Salute - Happy I Don't Count - Official Music Video from Lee Evans on Vimeo.

Ryan McGinley

2011-07-11T08:36:00.000-07:00

Years Ago, I got some incredibly cool posters from agnes.b store, showing beautiful pictures of young people running, jumping, playing around the campfire in naked. They are so comfortable, so free out in the wild. It made me wonder who took those amazing pictures. I love them so much that I posted all on my bedroom's walls. Some of them are like screenshots taken from a foreign/indie film. Then I saw his work on Sigur Ros' album cover.

Yes His name is Ryan McGinley.

The youngest artist having a solo show at the Whitney Museum back in 2002 at the age of 24

"Youth, liberation and the joy of losing yourself in the moment are elements that feature throughout Ryan McGinley’s work, from his early roots in documenting the urban adventures of his downtown Manhattan friends to his subsequent cross-country travels in utopian environments throughout America to his most recent studio portraits. McGinley’s elaborate and rigorous process of photo-making creates moments of breathtaking beauty: naked feral kids poised in ecstatic abandon. The lack of clothing and other contemporary signifiers along with the archetypical landscapes give the photos a sense of timelessness in which the viewer can project his or her own story. The use of animals is another facet of McGinley’s exploration of the natural world. They bring out the animalistic qualities of the nude figure, and the scratches on the bodies signify our desire to commune with nature and the excitement and risks inherent therein."

YOHJI YAMAMOTO : THIS IS MY DREAM

2011-07-09T04:09:00.000-07:00

Notoriously private Japanese fashion design icon Yohji Yamamoto lets his guard down in an exclusive, intimate short documentary film about life and the creative process, from Tokyo to New York.

Hailed as a genius, honored by entities from the French government to the CFDA, recognized internationally for his radical innovations and craftsmanship, Yamamoto is a visionary. Known for his mastery of sculptural forms, a penchant for androgyny and asymmetry, and an intellectual-yet-witty approach since he launched his first collection in Tokyo in 1977, Yamamoto has defined the avant-garde in fashion for decades. And yet, after more than 30 years on the world stage, he remains a mystery, cloaked by a careful division between his private life and his public craft.

Opening up about his artistic motivations, his love of music, and his aesthetic vision, the documentary follows Yamamoto through the entire creative cycle of a collection for his revolutionary line in collaboration with adidas, Y-3.

A perfect emblem of Yamamoto’s drive for innovation, the Y-3 label -one of eight distinctive lines the designer oversees- has created a new category in fashion since its introduction in 2002. Born out of a desire to merge Yamamoto’s craftsmanship with adidas’ technical prowess, Y-3 has come to be recognized as the future of sportswear, and it is the backdrop against which the film unfolds.

The documentary tracks Yohji Yamamoto and the global team working on the collection, casting, styling, show production, PR and communication for a short period of time during the Summer and early Autumn of 2009. Beginning with the finalization of the collection and styling for the show in Tokyo, followed by his arrival in New York City to oversee the final touches for the presentation of Y-3’s Spring/Summer 2010 collection, the documentary turns an intimate eye on Yamamoto during fittings, model castings, guitar-playing, philosophical musings, and interactions with his staff and the global team bringing his ideas to life.

Director Theodore Stanley, in association with his production group Harbor Film Company, was granted close access to Yamamoto. Best known as the Director of Photography for Bruce Weber’s documentary films “Letter to True,” “Chop Suey,” and “Boy Artist,” THIS IS MY DREAM represents Stanley’s debut as a documentary film director. Other notable credits include the Director of Photography for Chiara Clemente’s film, “Our City Dreams” and commercial work for the likes of Vera Wang, Ralph Lauren, and Chanel. In collaboration with editor Zak Tucker, Stanley has crafted a film that unveils Yamamoto’s artistic process in a way that will fascinate fashion insiders and neophytes alike.

“It was a privilege to have the opportunity to spend some time with Yohji Yamamoto in the process of making the documentary film, YOHJI YAMAMOTO : THIS IS MY DREAM. The project presented its challenges, as Yohji is a very private person and has maintained this privacy despite being one of the intriguing working artists and designers of our time. We needed to enter this world as an outsider but leave with images and words that allowed an intimate glimpse to this man's interior.” - Theo Stanley, Director

i love Yohji Yamamoto

so what more i can say

I Wayan Sudarsana Yansen

2011-07-04T08:16:00.000-07:00

is a contemporary Indonesian artist who’s abstract paintings celebrate colour, life, energy and spirit in an organic way. Bursting, flowing, decomposing and re-emerging the forms appear in a constant state of transition. The visual language he creates on the canvas is both beautiful and mysterious with each piece he is weaving a small story about the natural course of things.

He creates his artwork in dreams or imagination or intuition.

” I’m just mediator to serve the colour onto the soft canvas.

here in Bali i’ve got inspiration guiding by natural moment.”

Theo Altenberg

2011-07-04T06:57:00.000-07:00

is a German artist living in Berlin.

He uses cardboard to create some amazing paintings.

Letting Up Despite Great Faults

2011-07-02T08:51:00.000-07:00

Hear the sound from this amazing, shoe-gazing indie-pop band Letting Up Despite Great Faults, it's like the bright sun on the beach. It's summery, breezy and a bit dreamy, which totally match with the date of the release of their forthcoming EP Paper Crush. The EP will be out on August 2.

It all started as a project by a LA musician Michael Lee. The band name comes from the Blonde Redhead track “Loved Despite of Great Faults”. In 2009 Lee recorded the self-titled full-length album in his bedroom on his computer. The band is often being compared with The Radio Dept, The Pains of Being Pure At Heart and M83.

It is definitely something you want to hear in this summer. We are looking forward to their coming EP with excitement.
Letting Up Despite Great Faults - In Steps by lettingup

Urs Fischer

2011-06-24T01:23:00.000-07:00

1973

Born in Zurich, Switzerland

Lives and works in Berlin, Los Angeles and Zurich

Studied Photography at the Schule für Gestaltung, Zurich

Visited ‘de ateliers’, Amsterdam

Artist in Residence, Delfina Studios, London

Spontaneous and unpredictable, Fischer says ‘My work never ends up looking the way I intended... all that matters is if the artwork takes on a life of its own.’ Many of his pieces begin in play and consistently evidence their experimental evolution, even when highly finished, and they often appear in a state of decay or metaphysical transformation. If the entropic space between opposites is one of Fischer’s staples, the alchemy of the commonplace is another – furniture and fruit being among his favourite subjects. Brimming with voodoo or shamanistic energy, Fischer’s works positively palpitate with anthropomorphism, eliding definition between beautiful and ugly, elegant and awkward, graceful and burdened.

‘Each work begins with a quick sketch, but as soon as I start to work with materials, something goes wrong. For example, the thing won’t stand up and my irritation about that then leads to something else. My work never ends up looking the way I had intended. […] I don’t consider those sculptures unsuccessful. Something else just developed while I was working. It’s a two way street. Your thoughts determine the images, and it is the images, in turn, which determine your thoughts.’

Fischer’s interest lies with the everyday objects of our surroundings – food, drink, tables, chairs, cats. Instead of using and reconfiguring ready mades, Fischer makes objects. As his comments above highlight, the production process is organic and experimental, embracing both construction and destruction. The traces of this process remain at the core of the finished work - a roughness in the end piece often bears testimony to these signs of evolution. And at the extreme, as in the works Fischer made for his last show at HQ, What if the phone rings, a triptych of three life size women candles, the works continued to transform without the artist’s intervention, as the wicks were lit and the candles burnt down, morphing into new forms, beyond the artist’s control. And even with other finished objects, there is somehow an, albeit largely false, impression that they retain the potential for further evolution. This is perhaps not least due to the artist’s choice of riddle-like titles, a linguistic complement to the works, in which he combines common words into unexpected phrases, throwing out surprising verbal and visual connections. The finished works are unified by an upbeat feel.

死水

2011-06-19T08:22:00.000-07:00

這是一溝絕望的死水

這裏斷不是美的所在

不如讓給醜惡來開墾

看他造出個什麼世界

Jesse Ruins

2011-06-14T01:52:00.000-07:00

Jesse Ruins - a music solo project by a girl from Tokyo, Japan. Produce dreamy/electronic music over internet but remain anonymous. Who cares? We just love good music (perhaps followed by a music video that reminds us of a cult film.)

Here she shared some of her random facts with us

Interview by Define Us

Define Yourself

I cannot define myself yet.

Any Muse Or Influence

At the end of the day, it can be anything, I guess.

Pros and Cons being a(n) artist/musician

Being an artist is by itself really a brilliant thing, and I'm happy about that, including my surroundings. But at the same time, it's always associated with a great risk for me.

Favourite Place(s)

Where I live.

Ever (Feeling ) Lost?

Always happen. It might happen tomorrow as well. I'm walking on the edge all the time.

Best Gig

Think I haven't seen the best one yet.

Three Essential Things

Where I belong to, people who understand me, something new that inspires me.

Movie Or Picnic

Definitely movie.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://jesseruins.bandcamp.com/track/sofija"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Sofija by Jesse Ruins&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://jesseruins.bandcamp.com/track/dream-analysis"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Dream Analysis by Jesse Ruins&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

JESSE RUINS - SOFIJA directed by Tim O'Sullivan from Hidden Horizons on Vimeo.

Annelies Strba

2011-06-12T10:34:00.000-07:00

b. 1947, Zug, Switzerland

Annelies Strba’s work is concerned with notions of time and history; subjects which she expresses in a metaphorical and highly personal way. In the past Strba has approached a wide range of subjects; from the earthquake-stricken city of Kobe or the gloom of Auschwitz to wild flowers on the Bronte Moor. Her attention is most often turned towards her family and their home at Melide, Switzerland, a place with an unmistakable aura. Her working process is only concluded when the images are exhibited, often a number of variants of the same story emerge and connections are made visible. Making pictures is part of Annelies Strba’s everyday life; it is her way of engaging with and making sense of her world.