Pagan Poetry was brought to life by Diane Schuh, a french landscape architect and artisan/sculptor. Her designs are mainly influenced by ethnology, shamanism and native cultures such as the Inuit. Each of her pieces is a wearable representation of these cultures and traditions.
Mainly working with simple and modest materials such as brass or copper, she has the ability to manipulate these to create completely unique pieces of jewelry such as amulets, necklaces, collars or even a body harness.
On Sunday, November 16th, multi-instrumentalist Danish electronic artist Trentemøller performed at Chicago's Park West Venue. Anders Trentemøller is a Copenhagen based producer who started his musical career in the late 1990's with different indie-rock projects before delving into electronic music in 2006 with the release of his innovative debut album The Last Resort. With tracks such as “Take Me Into Your Skin”, “Vamp”, “Moan” and “Miss You”, The Last
The show at Chicago’s Park West opened with the maximal electronic industrial piece “Still on Fire”, a track off the latest 2014 album titled Lost, then worked its way into the more minimal “Miss You”. Each song merged into the next seamlessly creating an ethereal cinematic score for the night.
Resort is a fusion of abstract, minimal ambient sounds methodically composed together to create dark and disturbingly beautiful sonic experiences. Four years later Trentemøller released Into the Great Wide Yonder, the second album building on the melancholic sounds from the last but with the addition of Marie Fisker’s hauntingly seductive vocals in songs such as “Sycamore Feeling” and “Even Though You’re With Another Girl”.
Visually the set had an avant-garde mesh installation that rose up from the ground midway through the show. This combined with haze and light projections allowed for an intimate yet immersive audiovisual experience with the musicians on stage.
Unique mixture of granite stones, concrete columns and slender stalactite the Cisterns are a major challenge for the arts. In 'Andante' exhibition artist Christian Lemmerz attempts to fill the space in a beautiful way.
Location plays its own role in the exhibition entitled 'Andante' from the music where it denotes a quiet, gradual pace.
The Cisterns can hold 16 million litters of water, which they did until 1933, but even today, water seeps into the rooms and collects in large puddles that favourably reflects Lemmerz' light formations in the middle of the darkness. Darkness was complete - in the first several minutes - where you couldn't barely see a meter ahead.
Candles sticking small holes into nothingness, indicating particularly beautiful places in the halls, which offers both stalactites and strange protrusions.
It appears as a large living sculpture - a sea of candles that illuminates the dramatic staging.
Lemmerz` artistic approach is and will be as clean aesthetics and an empty ritual of silent drama.
CA lives and works in Munich. His paintings are deeply influenced by the old Japanese aesthetic principle of Wabi Sabi, which sees beauty in the fleeting and grace in imperfection and is characterised by both, melancholia and a certain vitality which only exists in focusing the present.
CA uses acrylic colours which he mixes with natural materials like ash or sand to achieve multiple layers of textures and structure as a distinctive feature of all his work. Mostly collected on the ocher fields of La Pro- vence, the sand is being processed along with little stones, pine needles and small parts of wood to retain its natural composition.
To appreciate the fading nature of all things instead of fighting it, to realize the beauty in imperfection and to value individual expression and attention to detail as crucial creative principles mirror the life of CA which in turn becomes visible in his art.
His exclusive sales exhibition, installed in the private showroom of hide[m] in Munich is displayed from November 10th 2014 until January 31st 2015. By appointment only.
Eternal sense of quantum leap in this Ray Of Light installation showing top model Carmen Kass as an hologram flying over ethereal dimensions. Fascinated by science at wide - from physics to human
ones - filmmaker Asa Mader delivers this
experimental perception of a woman travelling a somber yet luxurious black hole in search for a source of pure light. Atmospheric energies to complete this scavenger hunt
in a crave for refined origins.
Panoramic 35-meter holographic projections shown in the Piazza Strozzi in Florence during the sartorial summits Firenze4Ever and Pitti Immagine Uomo
2012, Asa Mader's collaboration - with
luxury fashion label Jay Ahr’s Artistic Director Jonathan Riss and FashionLab, an experimental design center for 3D technologies, and Dassault Systèmes - tastes like forever never dies.
The brand new Louis Vuitton Foundation in Paris is for eight nights the venue for Kraftwerk's performances revisiting their eight albums as a 3D visual experimentation.
Embodying the cornerstone of electronic music, the band would face a crowd of insiders masked in plastik-paper glasses, 7 to 77. Strong manifestations of joy and amazement would turn into the whole panel of childlike onomatopoeia. All of us, big kids in front of the Christmas Tree - opening side after side the wrapping paper containing here a
collectible miniature train or a remote-controlled car, there a A.I. metallic robot who would end up marrying the fanciest seventies plastic doll-model in some directing for toys. As yes we believe that allowing yourself to outdated passions is above all a sign of human intelligence and taste. Turning us all, children of once upon a time, into creative people.
Behind the plastic is the flesh, under the metallic skeleton flows the blood - warm & blessed from the atomic nuisance - under the robots are the emotional beings - filled with souvenirs and a taste for sharing it with the young generations. Old-fashioned transcending the time space to gather a discernible craze - the Technopop 3D live operates a mutation on a double impact: the show as we have known it upgraded to other dimensions; the way the public would perceive this shift.
And in front of a polished graphism, simple yet refined animations of the soundtrack of some troubled moments of history. Sovietik visions, psyche hallucinations of black and white interpretation, computerized desires, autobahn of a colorful mood, misleading train tracks blurring one’s mind. No human substance to fill the eyes - not before the replay of Das Model at least - but a fierce ability to reach the sensitive strings of our rational substance.
Precursors without a doubt, Kraftwerk starts where the musical science surpasses the fiction. Travelling back to their anti-nuclear research laboratory to remember that the best qualifier to describe their works shall naturally be science-fictional. This intangible notion under which visionaries explain in advance to their contemporaries what the future will be. If in SOME/THINGS' position over the place of the artists, there's no such concept as being a fan - thus from time to time a deep respect for founding fathers
and innovative genius can clearly be deciphered. No doubts the emotions enhanced by Kraftwerk 3D's performance will stick in our memories and in our eyes shining of sweet nostalgia. Golden-Age syndrome? We would rather satisfy our artistic choices by witnessing what happens around us now - and this event proved that lie somewhere lively particles of hope ready to explode anytime and calling for the edge of a new artistic-humanistic era.
For those who have travelled through the architecture and spaces of Tadao Andō; be it by means of physical experience, memory, simulacra or an amalgamation of the above; perhaps its feasible to speak in consensus that one cannot help but detect the deep sensitivity of the architect to the elements in a primeval sense, particularly the element of light and it’s consequent shadow. If, to paraphrase Hejduk, an inner space is but the shell of the inner thought of the architect; with Andō one can discern an ethos which reveres the elemental, the essential, whilst holding an affinity to the sensory and haptic pleasures of light and concrete respectively.
Although as time passes and these initial impressions are scrutinized, it becomes clear that these ubiquitous observations and their corresponding platitudes are perhaps too obvious to penetrate the deepest essences of his work. Perhaps to be just as banal, this sensitivity to the light may be read more so as an fundamental affinity to the dark; the dark preceding light that is; an ideology which of course has held prevailing ubiquitousness in discussions involving modern art (since Malevich) and pertinently seems to hold a prevailing presence within discussions of Japanese aesthetics (at least perhaps since Tanazaki). Although unlike the traditional Japanese houses where darkness is tempered with the aid of deep eaves and shoji screens, Andō sculpts his
darkness with reinforced concrete in a modular assembly. A technique which serves to striate the vertexes and trajectories of the primary Euclidean geometries which constitute his architecture. Ordered and enveloping solids are created that are formally reverent to the regional terrain whilst embracing and shaping the ‘inner void’. This ‘inner void’ captured seems to mimic an encouraged introspection with a spatial allowance for interstitial and restrained light as opposed to vast open outlooks. Countervailed by his prevalent use of courtyards - this allows for the elimination of extrospective glazing as primary light sources and permits the light to enter the building from all orientations -from within.
My account of Andō in this instance is primarily empirical and perhaps sensationalist. Embedded within the labyrinthine sprawling streets of Ibaraki, I visited the Church of the Light on a gelid yet invigorating winter day. It was surreal to witness building under our collective sun after much exposure to the building under various sources of digital light. Upon entering the space, I felt as though I had entered a space akin to the inner space of a camera. After all in an etymological sense, the word and device of the ‘camera’ as we know it today finds its origins in the Latin camera (chamber) and obscura (darkened), the consolidated expression camera obscura coined by German polymath Johannes Kepler only in the 1600s. After a further investigation into the spatial associations and characteristics of the camera as a chamber (or chamber as a camera), although perhaps tenuous, I could not help but acknowledge that the heightened illumination of spare light in Andō’s architecture was precisely possible incommensurate with the abundance of darkness. And this is a darkness which is fundamental; before the shadow. Achromatic extremes of blacks and whites are seldom (if ever) used in his work yet are ever naturally prevalent as if by design. The conciliating greys between drew my
awareness concurrently to the fundamental darkness and exposing light which constitute our seen world as Virilio has postulated, “Everything in this sunlit world is dedicated to speed. Even the tomb contains the instruments of dromology…The departure of the animating soul leaves the body motionless, but… the point is not to see the body still moving since everything goes on moving.”
From my limited experience, the ascertained primordiality innate in Andō’s architecture of ‘rudiments’ does have sepulchral associations; after all, the origins of architecture in a similar primordial sense have oft been traced to funerary edifices. I found that his spaces contained the funereality of a sepulchre; and as a monument that serves to imbue memory, it rouses an atavistic memory… tracing one’s acknowledgement to the role of light in our visible world and the corresponding speed (movement) which dictates it, further eliciting suspicions of resultant perceived verisimilitudes. These are all but facets of many which further culminate to punctuate the opposing yet serene stasis essential to Andō’s architecture of inner voids.
LASER ISOLATION TEMPLE is a video and an interactive installation by Au Matt showcasing WAN HUNG CHEUNG’s SS15 menswear collection. Shot on location in Poland the piece is a unique juxtaposition of Chinese design sensibility, traditional Eastern European folk imagery and futuristic lasers.
Showing in various locations around the world the first part of the video features a traditional Polish all-female church choir while the second part is given new soundtrack by a local artist in each city the video is screened at. Tokyo soundtrack courtesy of Hanayo.
Wan Hung Cheung is a Chinese fashion designer. After graduating from Central Saint Martins in London and interning with Tom Ford, Bernhard Wilhelm, John Rocha, Simone Rocha, he is launching his own label.
Au Matt is a Polish born video maker, creative director, photographer and an editor of an Anglo- Japanese MOTHER Magazine. Currently living and working between London, Tokyo and Seoul.
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