View allAll Photos Tagged POSTMODERNISM
Gérard Fromanger
17 février - 16 mai 2016
Musée Centre Pompidou
La peinture de Fromanger témoigne d’une aptitude à évoquer l’actualité la plus brûlante, mais également à enregistrer le mutations profondes de la société, tout en restant pleinement consciente d’elle-même. La couleur est l’un de ses ressorts principaux.
La colorisation offre aux images de Gérard Fromanger un aspect texturé, une touche vivante qui l’affranchit de la technicité photographique. Le sujet documente notre réalité tandis que la couleur nous en éloigne.
En une cinquantaine d’œuvres, allant de 1957 à 2015, dont plusieurs ont fait l’objet d’une donation au Centre Pompidou, l’exposition présente sous différents thèmes un art dans lequel peinture de la vie et vie de la peinture, préoccupations politiques et soucis formels ne sauraient être dissociés.
DANSE DES CODES
La série ” Questions ” [1976—1977] signale l'avènement d'une société de l'information et interroge le rapport de la peinture aux médias. On y voit des cameramen et des reporters, armés d'appareils photo ou de micros, confrontés à de purs événements picturaux. La forme abstraite y apparaît comme contraire à la logique des médias.
La réflexion engagée sur ce thème conduit à la série ” Tout est allumé ” [1979] : dans l'empire contemporain des signes, la peinture doit prendre ceux—ci comme matière première et se pratiquer comme une ” danse des codes ” [Alain Jouffroy].
La toile monumentale De toutes les couleurs, peinture d'Histoire [1991—1992] constitue le prolongement de ” Tout est allumé ”. Elle figure la circulation accélérée et déhiérarchisée de données de toutes sortes — images d'avions de guerre, de pyramides d'Égypte, d'animaux ou d'abstraites éclaboussures de couleur — dans les flux électroniques qui innervent la société postmoderne.
between the holidays, the Olypmics and my dragon park I have had little time for LEGO. Now that life is going back to normal I'm finding time for some micro MOCs.
Please don't be too critical, I'm a bit rusty.
Silkhouse Court takes its name from the narrow lane previously crossing the site. This was home to the workshops of immigrant Italian silk makers from Genoa who had settled in Liverpool in the 17th century.
In my view Silkhouse Court is one of Liverpool’s better post war buildings. Deliberately plain and uncluttered in elevation, it relies on its crisp geometry and scale for architectural effect. It provides a contrast with the much older Exchange Station building seen right foreground (closed as a station in 1977). It certainly presented a difficult challenge for the project structural engineers at the time because Legal and General required a new 15 storey building on a site directly above the line of first Mersey tunnel. They resolved the problem of potential settlement by designing a massive 3m thick concrete slab “bridging beam” above the tunnel arch, supported on 18 columnar lateral piles. Therefore, Silkhouse Court is effectively built on a subterranean bridge spanning the tunnel. This partly explains its long construction period of 3 years.
I have attended meetings on the upper floors of this building and they offer exhilarating views of the city and beyond. All of the windows in the tower were double glazed from new to reduce traffic noise from below. The windowless top storey houses the services plant room.
Silkhouse Court is another of those buildings which were required to be “future proofed” to enable its inclusion in the Liverpool City fathers’ ambitious “pedestrian walkway in the sky” scheme. This required all of the new principal buildings of the period to be connected at first floor level. This idea never materialised.
Silkhouse Court, Tithebarn Street, Liverpool
opened : September 1970
client : The Legal and General Assurance Co. Ltd.
architects : Quiggin & Gee, Refuge Assurance House, Derby Square, Liverpool
structural engineers : Bingham Blades & Partners, 36 Dale Street, Liverpoool
main contractors : Tysons, Dryden street, Liverpool
cost : £1,75m including site acquisition
architectural style : postmodern
COPYRIGHT © Towner Images
Architect: Richard Gilbert Scott (1923-2017) in a Postmodern style with Gothic references, using Whitbed and Roach Portland stone cladding. Opened in 1999, replacing the previous Blitz-damaged gallery of 1885. The remains of London's ancient Roman Amphitheatre were discovered prior to construction and are preserved in the basement. City of London.
(CC BY-NC-SA 2.0 - credit: Images George Rex.)
"Pre-Postmodern Swiss Posters" exhibit held at San Jose State University from November 17-December 18, 2009. The posters are from the private collection of designer Aaron Marcus.
Photos by Morgan Smail.
Electronic transmedia project based in Bogotá - Colombia - Southern waves and frequencies.
"of the cold and noisy nights, of the depths of the emotions, of the darkness of the soul and life. a sordid, hypnotic work of strong and energetic rhythms, with basses that reference in this digital age the decadent notes of the 80s, the dark cyber punk synths, cold wave, garage post punk, the abandoned floor, voices heartbreaking, sensual and energetic of our underground mental world, our most abstract and dense thoughts. Mental abstractions, immersed in our analogue digital synthetic atmosphere of emotions and noises, lost among electronic scrap, between technologies, neon lights and shadows of the universe of the present...
The modern counterpart of the previous photo. The Victorian buildings were finally demolished in about the early 90s I think. New buildings have also appeared on the far corner, replacing 1950s properties erected on bombsites. Architecturally these structures are utterly undistinguished. You can't altogether blame the architects who, presumably, have to work within a budget, against their own inclinations and according to certain constraints imposed by the authorities. But you can't help wondering what the future compilers of architectural guides will find to say about the commercial buildings of the late 20th century. As more and more of these identikit structures go up, so British cities come to look more and more alike. New housing on the outskirts, all built to a pattern, has the same effect. Gradually the whole country is homogenised and takes on the blandness of a blancmange.
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Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.
Vote for Postmodern Philosophy Lulz ® on I Can Has Cheezeburger please!
Infogram:
Postmodern Philosophy Lulz ®
Because Theory Is Easier To Swallow When There's A Kitten Behind It
Mustering 56 floors and reaching a height of 780 feet (240 m), the building now known as the TC Energy Center was completed in 1983. It was designed by Johnson/Burgee Architects, and is regarding as Houston’s first postmodern building. The design is said to echo the Dutch Gothic architecture of canal-side houses. It is currently the city’s fourth-tallest.
The Chicago Title and Trust Building
Architect: Kohn Pedersen Fox Associates
Date: 1992
Style: Postmodern
Address: 161 North Clark Street
Height: 756.18 ft. (50 Floors)
Exterior: Aluminum and Granite (curtain wall)
Structural
Material: Steel
Program: Commercial Offices
The Chicago Title and Trust Building was originally intended to be a set of identical towers. Due to economic restraints, it was never constructed. The multi-level parking structure to the north is the site in which the second tower would have been constructed. Though the plan has already been abandoned twice, the proposal still remains an option.
Lead designer Kevin P Flanagan received the Chicago Athenaeum's "Best Building" Architecture Award, for the tower’s design in 1990.
"L'Historia si può veramente deffinire una guerra illustre contro il Tempo, perché togliendoli di mano gl'anni suoi prigionieri, anzi già fatti cadaueri, li richiama in vita, li passa in rassegna, e li schiera di nuovo in battaglia....
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.
Riverside Hotel und Grill Royal, Friedrichstraße, Berlin-Mitte, DDR-Plattenbau aus den 1980er Jahren
In a Warhol kind of way, it's famous for being famous. Have never used it.
The Japanese Big Bunny Cookie Jar is not impressed!
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Il 6 aprile 2016 gli Scott Bradlee’s Postmodern Jukebox, la rivelazione swing americana già fenomeno di Youtube grazie alla cover di Miley Cyrus “We can’t stop”, saranno in concerto in Italia all’Alcatraz di Milano, per l’unica tappa italiana del tour.
Un fenomeno ormai mondiale, con 200 Milioni di visualizzazioni su Youtube e 1 Milione di iscritti al canale.
Un tour che parte nel 2015 dagli Stati Uniti passando per l’Asia ed approdando in Europa nel 2016 con oltre 80 date confermate. Immaginate canzoni di Beyoncé, Britney Spears or Taylor Swift riportate indietro di 70-80 anni…
Gli Scott Bradlee’s Postmodern Jukebox (o PMJ, come ormai vengono chiamati in tutto il mondo) sono una mini-big band swing a tutti gli effetti, ma con qualcosa in più: uniscono il perfetto stile “d’epoca” ai brani moderni di Beyoncé, Britney Spears, White Stripes o Taylor Swift rielaborandoli come se fossero arrangiati per Louis Armstrong, Ella Fitzgerald, Judy Garland o Nina Simone. I PMJ colmano il divario tra le generazioni, suonando melodie a tutti familiari con arrangiamenti che intrigano tutte le età.