The Art Pack // Rest In Polaroid
Wednesday, January 27, 2010
FOLLOW A MUSEUM DAY: DEL MUSEO IMAGINARIO / Twitter Culture in Mexico
Yes, we are taking part of this day. Of course, I am sure that more than one of you follow a museum right?
DEL MUSEO IMAGINARIO( by Adriana Gallegos Carrión) is the responsible of spreading and explaining what the campaign´s all about. I personally admire the intense labor some of the people involved in Cultural and Educational Institutions in Chihuahua,MX are doing towards this subject. Congratulations to the website, one of the best northern websites in culture & art matter , in the country.
So, pick a Mexican Museum to follow!! A.S.A.P. !! and spread to the world their daily news. Let´s create a solid network of Mexican museums information.
Thanks a lot DEL MUSEO IMAGINARIO for being an inspiration for this post ! And thanks to guso.com, for passing along this information.
FOLLOW A (MEXICAN) MUSEUM DAY : STOCK OF MEXICAN MUSEUMS
FOLLOW A MUSEUM DAY http://twitter.com/followamuseum
FUNDACIÓN JUMEX http://twitter.com/FUNDACION_JUMEX
MUSEO DEL CALZADO http://twitter.com/museodelcalzado
MUSEO DE ARTE POPULAR http://twitter.com/Map_mexico
MUSEO CASA FRIDA KAHLO http://twitter.com/museofridakahlo
MUSEO AROCENA http://twitter.com/museoarocena
MUSEO DIEGO RIVERA. ANAHUACALLI http://twitter.com/anahuacalli
MUSEO DE LA CIUDAD DE MÉXICO http://twitter.com/museomexico
CENTRO DE LA IMAGEN http://twitter.com/cinbetsa
MUSEO DEL JUGUETE http://twitter.com/museodeljuguete
MUSEO DOLORES OLMEDO http://twitter.com/DoloresOlmedo
MUSEO DE ARTE CONTEMPORÁNEO (MARCO) http://twitter.com/MuseoMarco
MUSEO NACIONAL DE HISTORIA http://twitter.com/museodehistoria
MUSEO INTERACTIVO DE ECONOMÍA (MIDE) http://twitter.com/museoMIDE
MUSEO MODELO DE CIENCIAS E INDUSTRIA (MUMCI) http://twitter.com/mumciToluca
MUSEO CASA CHIHUAHA http://twitter.com/casachihuahua
COLECCIÓN BLAISTEN http://twitter.com/cblaisten
MUSEO NACIONAL DE ARTE http://twitter.com/artemexicano
LABORATORIO ARTE ALAMEDA http://twitter.com/ArteAlameda
MUSEO DEL ACERO HORNO 3 http://twitter.com/museodelacero
MUSEO DE ARTE CONTEMPORÁNEO (MUAC) http://twitter.com/difusion_muac
MUSEO FRANZ MAYER http://twitter.com/museofranzmayer
MUSEO DE HISTORIA MEXICANA / MUSEO DEL NORESTE / MUSEO DEL PALACIO http://twitter.com/3museos
EX TERESA ARTE ACTUAL http://twitter.com/exteresa
MUSEO DEL DESIERTO http://twitter.com/museodeldesierto
Tuesday, January 26, 2010
Monday, January 25, 2010
Some Objects of Desire
About
2010,
Art Critique,
Eva Guerra
The extraordinary.Every time is much more difficult to find it. Seeking for it, that´s my habit. Seeking for that I don´t really understand or comprehend. So, when living in Barcelona, I met "him", a visual artist with an incredible vision about "the contemporary", and all its odds.
He invited me to MACBA´s Private Collection "Time as Matter: New Pieces" Open Show.And then we met: The Iconic Weiner and me.
He invited me to MACBA´s Private Collection "Time as Matter: New Pieces" Open Show.And then we met: The Iconic Weiner and me.
Some Objects of Desire, with its inexact mathematical formula and ambiguous language, between descriptive and metaphoric, affirms the relationship between different objects and each and every one of its viewers. It seems to evoke the Bronxite Lawrence Weiner (b.1942) definition of art as the relation between human beings and objects, and objects in relation to human beings. Since the 70´s, Weiner has been a key figure in Conceptual Art. In 1964 he started the series of painting Propeller based on TV test cards. Through this image, immediately recognisable and reproducible, Weiner cancelled not only decisions in composition, but also elements such as inspiration,surprise, expression or self-definition,disavowing and even parodying contemporary subjective or romantic tendencies in expressionist painting. Each of the work in this series has the same price, confirming that the works had being conceived conceptually and not as individual objects. Nonetheless, the works were not accepted as ideas, but as paintings. Later on, in an attempt to eliminate the importance of the artist, Weiner created the Removal Paintings series , which he spray-painted , eliminating a piece of the canvas, usually in one of the corners. In this mechanical process, the person receiving the work would say what size, color and shape her or she wanted to removed from the painting. Though these painting undermine their work authority by inviting and then incorporating the authority of the viewer, the works still had specific qualities.
Another Weiner exhibition consisted of a book titled Statements. Obviously the work was presented only as text. Since that time, his work was dealt primarily with the use of Language.* It is through language that Weiner finds an instrument to present material relationships in an objective manner. Language, becomes for the artist an instrument that eliminates references to the subjectivity of the author, the artist´s hand,ability or taste.
In 1969 he published his declaration of Intent:
1. THE ARTIST MAY CONSTRUCT THE PIECE
2. THE PIECE MAY BE FABRICATED
3. THE PIECE NEED NOT TO BE BUILT EACH BEING EQUAL AND CONSISTENT WITH THE INTENT OF THE ARTIST THE DECISIONS AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP.
His unique ideas clearly favor ideas over material form and have manifested themselves on postcards,movies,records,manhole covers or even sugar packets, together with the walls of artistic institutions. He taught us language is accessible, democratic,subjective and belonging to all those that can read or write. And that´s how art should be. / Eva Guerra.
Some objects of desire +
some objects of necessity +
some objects of no concern -
those things that escape notice /
a force majeure
= some things
.........................................
*FYI / It was a private early collector Count Panza, who first had Weiner´s Pieces written directly on the Wall.
WEEK 4 / JANUARY 2010
Uno de todos nosotros tiene que escribir, si es que todo esto va a ser contado. Mejor que sea yo que estoy muerto, que estoy menos comprometido que el resto; yo que no veo más que las nubes y puedo pensar sin distraerme, escribir sin distraerme (ahí pasa otra, con un borde gris) y acordarme sin distraerme, yo que estoy muerto (y vivo, no se trata de engañar a nadie, ya se verá cuando llegue el momento, porque de alguna manera tengo que arrancar y he empezado por esta punta, la de atrás, la del comienzo, que al fin y al cabo es la mejor de las puntas cuando se quiere contar algo). / Las Babas Del Diablo. Julio Cortázar
Wednesday, January 20, 2010
PRADA´S GOOD START
About
2010,
Cheryl Santos,
FashionReview
It’s been years since Prada stopped being a fashion house that was pleased presenting two collections per year and thinking it had made a good job. Long gone are the times when I used to log in to prada.com looking for something new and found nothing but an image of the current campaign seen in magazines. There was no fashion, no interaction; nothing that could have satisfied me or any of the other fashionistas. Prada was a mystery, and still is today, but for totally different reasons. Before, the lack of personality beyond the clothes leaved you with the feeling of wanting to know more. Now, Prada expands its universe outside the runway, so you wonder what is going to be their next step.
With four collections per year (spring/summer, resort, pre-fall and autumn/winter) Miuccia Prada has been surprising us constantly by introducing the outfits using artistic media, something that backs up her ideology of fashion that goes with every collection.
You stop seeing the garments just like well crafted and expensive outfits. It integrates them in different escenarios and people, in situations that move them out of their usual context, so that we can appreciate them in the same way the designer conceived them.
There is a reason for the shoes, the silhouette of the jackets and dresses, and the stage in which these are shown. What better way to understand what is on Miuccia’s mind than the media she chose to express it with?
FALL/WINTER 2010 MENSWEAR SHOW
Prada announced on its website that the 17th of January there would be a live broadcast of the fashion show in Milan, the first one for the house. In the same runway, the women’s pre-fall collection will be presented as well, following the same line of design that the menswear.No need to travel. Prada brought its runway venue and attendees to anyone who had an internet connection and liked the brand. With a stage full of colors, statistic charts decorating the floor and screens showing the best moments of the past years, the models filled the room walking everywhere showing off the new collection.
You did not have to wait until the next day to get press reviews and photos of the runway. You were there, creating an opiniong immediately. Maybe the main purpose for this event was to get rid of the middle people (the formal press) and deliver the message directly to its consumers.
"It's time to reinvent the banal",
said the designer for ABC News.
This collection has the spirit of a young preppy boy. At first sight, a simple design: already visited a few times but enriched with the modern touch. This Prada boy appreciates the past, knowing that these are modern times.
Another piece that calls for attention is a large coat with sixties-inspired prints and camouflage, a little bit retro and corny, but in a right measure.
“Mrs. Prada is famous (notorious, even) for moving from season to season without a backward glance at what’s come before”, wrote Tim Blanks on his review for style.com
THE FIRST SPRING FILM
The fashion show was not the only thing that Prada had prepared. Since a week ago, their CEO announced the colaboration with Yang Fudong, a young Chinese artist known for his black and white films, the Seven Chinese Intellectuals (an adaptation of the ancient Chinese stories The seven sages of the bamboo grave). At 39, Fudong was comisionated with the task of shooting the spring/summer 2010 collection and direct the film that goes with the campaign: First Spring.
Even though, Prada could fall into an awkward gap if it doesn’t succeed merging fashion with art; there is no guarantee that it will work just because they are exceptional alone.
An exciting future for a good start./ Cheryl Santos
The famous italian archistar Renzo Piano: The New Auditorium for l’Aquila, Italy
About
2010,
Adriano Occhibelli,
Architecture
A house for music, all made in wood, to bring new architecture quality for the people of l’Aquila after the earthquake of last 6th of April 2009 it´s on process and the author is our "all-time-favorite archistar" Piano..
This project is very significant for the people of l'Aquila, deeply wounded by the earthquake and was formally requested by the famous Italian conductor Claudio Abbado after his concert in l'Aquila (June 2009), wishing a new place where to perform music events. In these sad days, reporting the new huge nature disaster of the Haiti's earthquake, architects do have the power to drastically improve the situation, helping with their projecting skills and design culture the hit populations and providing new safer and better spaces. The project should be completed for September 2010 and will temporarily substitute a new definitive project until this last one will come. /
Adriano Occhibelli
Adriano Occhibelli
Tuesday, January 19, 2010
Augmented Reality Might Kill Us All
About
2010,
Culture,
Miguel Melgarejo
Perhaps the very repeated question of “how will the future look like?”
have to be reformulated to “how will the future NOT look like?”, for what I know this might be far easier to predict if we take on account that we live in a deeply individualistic society immerse in a world full of generalized advertising present in the mass media.
However in the future this might be very different since the mobile phones, tablets and other things grow in technology and complexity, even more specifically with the development of the augmented reality technology, which will allow agencies, designers and artists to create content that will only truly be seen by the people interested in it.
A lot of situations might change, imagine you are walking by in the street, you see a girl or boy you like, instead of starting the old style flirting activities, you might take out your mobile phone, point it at the face of your prospect and visualize with the TAT augmented ID (video below) information, photos and social media networks that this person decides to show, and suddenly, without any words or gestures used, you might meet the love of your life.
From digital marketing to graffiti this new technologies might change them all, since thanks to the information contained in your social media networks, advertisements will be more specific for your interests and activities. With this is possible to imagine a future where billboards disappear and augmented reality spots appear.
In the mist of an even higher dependency to technology and social networks to meet people and socialize, we might start seeing clearer streets from billboards but filled of hidden animations and projections, where new dimensions will exist with its different demons and rules, so, my question here is, what will you creative individual will do with this?
have to be reformulated to “how will the future NOT look like?”, for what I know this might be far easier to predict if we take on account that we live in a deeply individualistic society immerse in a world full of generalized advertising present in the mass media.
However in the future this might be very different since the mobile phones, tablets and other things grow in technology and complexity, even more specifically with the development of the augmented reality technology, which will allow agencies, designers and artists to create content that will only truly be seen by the people interested in it.
A lot of situations might change, imagine you are walking by in the street, you see a girl or boy you like, instead of starting the old style flirting activities, you might take out your mobile phone, point it at the face of your prospect and visualize with the TAT augmented ID (video below) information, photos and social media networks that this person decides to show, and suddenly, without any words or gestures used, you might meet the love of your life.
From digital marketing to graffiti this new technologies might change them all, since thanks to the information contained in your social media networks, advertisements will be more specific for your interests and activities. With this is possible to imagine a future where billboards disappear and augmented reality spots appear.
In the mist of an even higher dependency to technology and social networks to meet people and socialize, we might start seeing clearer streets from billboards but filled of hidden animations and projections, where new dimensions will exist with its different demons and rules, so, my question here is, what will you creative individual will do with this?
Lucia by Diluvio
About
2010,
Amazing Finds,
Video
LUCIA (Lucía, Luis y el lobo - Part 1 of 2)
by Niles Atallah, Cristobal Leon & Joaquin Cociña
Lucía is the 1st short video of the 2-part series “Lucía, Luis y el lobo” (”Lucía, Luis and the Wolf”). The video was shot frame by frame with a digital photo camera. Materials: charcoal, dirt, flowers, found objects and cardboard.
Monday, January 18, 2010
“One fish, Two fish, Red fish, Blue fish” by Dr. Seuss
About
2010,
Book Review,
Maja Luján
Part of the 220 rhymes and verbal doodles
written in 1956 by Dr. Seuss.
This compilation was called the Cat in the Hat, read in every Anglophone kinder corner since forever but familiar to the world since it hit the big screen in 2003. The wonderful thing about this book is for instance the cover in a palette of primary colors and the lines torn concave and convex in order to give birth to amazing creatures.
Drawings dance to the rhythm of absurd scenarios and fantastic animals with peaceful faces and childish behaviours , living common situations with whacky details. As we all know, Dr. Seuss mastered the sewing of vowels and and consonants to create his inmense kooky paraphernalia for stories such as The Grinch Who Stole Christmas, Horton Hears a Who! And this one itself.
Theodor Seuss Geisel also known as Dr. Seuss was really a doctor of the nonsense cartoons from Oxford University, changing the concept of all pastel colors and didactic toned storied for kids. He changed those moral clichés to whimsical experiences which still show us never stop imagining , say he was the real Peter Pan of the 20th century. Geisel ´s unpredictable way of story telling was a combo of lines, few colors such as red, yellow and yellow all so shiny and eye catching. The sketching and coloring of the époque beats in the escence of the characters, with combination of bright colors reminding us postmodernism in watercolours, pen, acrylic. His aesthetic creatures belong to somewhat called maximalist because every corner is bright and extremely detailed, but his work is also defined as cute formalism with ironic manners, childlike riddles and playful spirited art.
This Pulitzer champ (1984) has been considered as an American popart – sometimes kitsch, yet his art is better defined as transgressive, aiming to be rebel to the ordinary and shocking the typical contents, including bizarre and almost “mental illness”ed works. Dr. Seuss , illustrator of his mental odysseys , was the voice of rebel kindergartens, he made learning to read a hip thing in the 60´s and not only had he written quirky books for kids, but he also achieved and Acadamy Award (1945) for a short documentary called Your Job in Germany. / Maja Luján
Sunday, January 17, 2010
Maison Martin Margiela: The Book
About
2010,
FashionReview,
Karina Estrada
“The past is what binds us, the future leads us.”
-Maison Martin Margiela
When talking about fashion and its brands it’s easy to immediately think about the big fat names that have prevailed in the scene for years, those that jump out of every magazine and billboard, the ones that hang out with models and star-bloggers at the most exclusive parties, and the same that smile for the lens of Tommy Ton or Scott Schuman. Karl Lagerfeld, Alexander Wang, Betsey Johnson, Marc Jacobs: the nature of the fashion industry place the creators and their colorful personalities in the spotlight, making them as important to the show as the clothes they make.
Maison Martin Margiela, the Paris-based cult label created in 1988 by Martin Margiela, has adopted an anti-marketing stance as a way of existence. The avant-garde house of the extremely elusive Belgian designer --that some claim to be the unofficial member of the Antwerp Six-- has been dropping jaws with its one of a kind collections since the late eighties, yet nobody really knows much about the shy guy that leads it. After having escaped from the public eye for years (up to his retirement in October 2009) by avoiding personal interviews, not appearing at the end of his shows and keeping away from the eagle-eyed photographers, the launching of the first book that documents the work of the mysterious designer came as a very pleasant surprise. The special publication that Rizzoli Publications launched in October 2009 to celebrate the 20th anniversary of the label came as a gift for those avid fans that hoped to find a clue about the enigma that surrounds the three M’s identity. Being one of them, lucky enough to own one of the limited edition pieces, I feel it is my duty to share it with you.
They say everything resembles its owner. This sentence stands true in this case: even from the outside you can tell the hardcover book inherits the Maison Martin Margiela look. Completely covered in white linen --Margiela’s long time color pick--, its only decoration is the 0-23 “logo”, a set of numbers that label the collections in apparent randomness. This prepares you for what you are about to see as you make your way through the 368 pages. Hundreds of images extracted from Maison Martin Margiela’s archives, as well as essays, magazine’s articles and personal letters, take you to a journey throughout the career of the fashion house in a non-chronological yet understandable way. Even then you can notice the talented hand of Margiela --who designed the book himself-- while looking at the silver inks, ribbon markers, paper types and mini-booklets that one finds every now and then with special amusement.
Intellectual and emotional, serious and playful, Maison Martin Margiela’s book achieves what no publication had before: it shares a different perspective, an intimate and honest one, on the philosophy and creative process of one of the most influential and polemic houses in the fashion scene today. And after feeling the rough texture of its embroidered cover, weighting its heaviness over my lap and discovering something exciting in each page, I come to realize that every single detail on it was meticulously planned by a genius. Because it faithfully transmits the passion that has always defined each step its creator takes, and one becomes inevitably attached to it, forever hypnotized by that secret world we just caught a glimpse of, yet we barely know about.
Friday, January 15, 2010
TODAY I ADMIRE ..........
TODAY I COME ACROSS THIS ART PIECE. IT WAS IN MY "FAVORITES" STASH. IT´S A COLLAGE BY LEONARDO TEZCUCANO.
WHEN I MET LEONARDO TEZCUCANO , I WAS GOING THROUGH A TOUGH PHASE OF MY LIFE, I WAS CONSOLIDATING MY ART AND CREATIVES PROJECT, AND SOMEONE, OUT OF NOWHERE, GET ME INSIDE THE IDEA THAT I HAD TO CHARGE FOR PROMOTING AND WORKING FOR MEXICAN ARTISTS AND CREATIVES. I EVEN WORKED ON A BUSSINESS PLAN. I WAS CONFUSED, I DIDN´T NEED A NEW JOB, I WAS ( STILL AM ) WORKING FOR MY OWN URBAN DESIGN FIRM, AND JOB WASN´T THE REASON TO START THE FIRST TALENT STOCK EVER MADE IN MEXICO.THERE WERE OTHER COLLECTIVES, BUT EVERYTHING WAS LOCAL, AND I BET ON GOING NATIONAL.
I WAS ALONE BACK THEN , I HAD TO DO ALL, WITHOUT EVEN EXPERIENCE IN SOCIAL MEDIA NETWORKING, CREATIVE PROJECTS ETC.. IN THIS HURRICANE EYE, I MET THE TEZCUCANO´S: LEONARDO AND LIGHT . HE WAS WILLING TO WORK ( WITH ME AS HIS REP) AND I DIDN´T KNOW EVEN WHERE TO START. I COULDN´T AND HE STARTED WORKING WITH SOMEONE ELSE´S FIRM. WE NEVER SAW EACH OTHER AGAIN. ANYWAYS, AND IN THE MIDDLE OF THE CONFUSION, I MADE POSSIBLE AN APPEARANCE OF LEO IN ONE OF MEXICO´S MOST PRETIGIOUS FREE MAGAZINES. I WROTE ONE OF , MY BEST EDITORIAL COLLABORATIONS.
DELIRIOUS DIGITAL, WAS A SIMPLE BUT ACCURATE APPROACH TO TEZCUCANO´S ART-STYLE AS THE CUT & PASTE COMEBACK , THROUGH DIGITAL EYES. THIS TEXT WAS PRESENTED AT MY MASTER´S DEGREE ON ART & SOCIETY TO ONE OF MACBA´S CURATORS, AND THANKS TO HIM, NOW I´M MAYBE APPLYING FOR THE MASTERS IN CURATORIAL KNOWLEDGE IN BARCELONA, SPAIN.
MORE THAN A YEAR HAD PASSED, AND WE ARE NOW MORE THAN MEMBERS OF A STOCK, WE ARE FRIENDS AND PARTNERS IN CRIME. WE SUPPORT EACH OTHERS WORK. NOW I COORDINATE THE PIGMY DEER NETWORK, AND, AS I STRUCTURED SINCE THE BEGINNING, IT´S A NON PROFIT PROJECT AND THE AIM IS TO CREATE A SINGLE NAME TO REPRESENT MEXICO´S CREATIVITY WORLDWIDE. THE PIGMY DEER IS THE FIRST MEXICAN TALENT STOCK EVER STRUCTURED, YOU JUST HAVE TO BELIEVE AND CREATE.WE SEIZE NEW ART/ CREATIVITY PROJECTS, AND SUPPORT AND COURAGE THEM FLOURISH OUTSIDE THE BOX .WE ARE"PROOF / ERROR" BELIEVERS IN A NO-BOUNDARIES TERRITORY.
LEONARDO IS A PIONEER IN THE STOCK, AND HE´S SEEN THE PROJECT GROWN AS WE HAVE SEEN HIM. ALTHOUGH I NEVER KNEW HIS "PROOF-ERROR" STAGE, HE IS ONE OF THE MOST FAITHFUL MEMBERS TOWARDS OUR IDEAS, AND MANIFEST.
HIS WORK INCLUDES : ABSOLUT VODKA PRIVATE ART COLLECTION, A MONT BLANC LITHOGRAPHY SERIES, SAMSUNG REFIRGER-ARTE PARTICIPATION, SPECIAL BMW ART EXHIBIT.VERY SOON, LEO´S WORK WILL APPEAR IN NYLON´S MEXICO EDITION. WITHOUT A DOUBT, HE´S AN ARTIST YOU´LL BE HEARING A LOT IN THE FUTURE.
Evangelina Guerra Luján
.......................................................
Founder & Coordinator
Thursday, January 14, 2010
SYNTHESIS
“When I am in my painting, I’m not aware of what I’m doing. It’s only after a sort of ‘get acquainted’ period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of its own.”
— Jackson Pollock
— Jackson Pollock
PABLO CONTRISCIANI
Argentina
SYNTHESIS is a visceral manifestation of a collective experience. The work arises from bold gestural movements, dispersing bright paints, which are leaked, squeezed, compressed and hurled across the canvas, creating two-dimensional forms devoid of perspective, yet imbued with a monumental architectural quality. The resulting delirium of color, contour, texture, motion and emotion has the spirit and urgency of our time, while timeless.
"In an era when his contemporaries are celebrated for their appropriation of iconic arts imagery, Contrisciani, in tune with this resurgence, goes beyond a reassessment of specific fine arts icons and instead re-contextualizes aspects of salient art theories. He is not a dogmatic proponent of the Thesis behind those movements, nor is he creating a rupture with an Antithesis, but rather Contrisciani has created SYNTHESIS, new a body of work, which is derivative of select prior traditions advocating progressive explorations of color and line, as well as, freedom of form and expression. His work is replete with inferences to the inner spiritual resonance of Wassily Kandinsky's pure painting, and Jackson Pollack's action painting, as well as, the cross sensory synaesthetic effect of Albert Ohelen."
SYNTHESIS can be read as an experimentation in pure abstraction in which, as with jazz, the artist departs from conventional norms, improvising as he stretches beyond the confines of comfort to the edges of harmony and cohesion.
Wednesday, January 13, 2010
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