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the harmonicas play the skeleton keys and the rain
and these visions of Loana
are now all that remain
Today we’re celebrating a Belfast boy who sang like he swallowed the whole moon, that’s right -Mr. Van Morrison.
Van the Man. Born George Ivan Morrison in 1945. Grew up in the shipyards of Belfast, where the air was thick with smoke, salt, and Sam Cooke on the radio. His dad brought home American records like they were sacred relics. Fats Domino, Muddy Waters, Mahalia Jackson, you could say young Van got baptized in rhythm and blues.
He started out in a band called Them—not ‘them’ as in ‘those guys,’ but Them as in Here Comes Trouble. They had a song called 'Gloria', three chords and the truth, shouted through a whiskey haze. That song’s been covered more times than a diner seat.
But Van didn’t stop there. He hit the road, solo. Took a left at jazz, a right at Celtic mysticism, and ended up somewhere between William Blake and a Baptist preacher.
Astral Weeks, now, there’s a record. Sounds like it was recorded on another planet. No hits, no hooks, no compromises. Just Van mumbling like a man possessed, chasing ghosts through the backstreets of his own memory. He said he wanted to be ‘born again,’ not in the tent-revival sense, but in the way Coltrane was born again shedding skin, breaking form, becoming something else. He sang about Cyprus Avenue, Madame George, Brown-Eyed Girls and cleaning windows. Sometimes he sounded like he was talking in tongues, sometimes he was. And then there’s Moondance. That’s the sound of falling in love in autumn. A jazz waltz with a pocket full of stardust.
He’s a tricky guy, Van. Doesn’t like to explain himself. Shows up to the gig, gives you an hour of transcendence or an hour of snarling silence, depending on the mood of the gods. But you gotta admire that. Some folks build careers, Van built a world. And if you listen close you might just get lost in it.
So put on one of those transmissions from the other side honeybees, like 'Sweet Thing’ where the bass holds your hand to never let go and the record don’t fit no shelf.
ink, watercolor on paper
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Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
Mechuka, Arunachal Pradesh.
Of the many peaks around the valley, here's a peek at this one through the heavy rain and cloud cover.
PS: It'd be a great favor if any viewers could tell me if the contrast here is too high. I've been editing lately on this laptop which isn't calibrated well, so some light in the right direction, please, thank you.
"Zapata stole my heart" 19cm
Acrylic on cork
instagram loanaibarra
facebook www.facebook.com/LIM.LoanaIbarraMazari/
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Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
©Jeremy Photography 2016
Taken some time 2-years ago.
Found it in my "save box", and decided to process it out and show case.
This is the famous landmark of Singapore - Rochor Centre, near to a busy place, Bugis.
Rochor Centre is now in the history book of Singapore. As this building will be used for military urban exercise which I have last heard to preserve this amazing architecture and structure.
I hope this picture portray a wonderful and mesmerising historical memory to everyone around the world.
Jeremy Hui Photography | Getty Images Collection | Shutterstock | Room the Agency | Facebook Page
Sarah Burton the UK fashion designer and creative director of fashion label Alexander McQueen has confirmed she was commissioned to design Kate Middleton’s wedding dress on her marriage to Prince William. As the former head of Women’s wear and prior to her elevation to director on the suicide death of the label’s founder, Burton had created designs for many celebrity names including Cate Blanchett, Lady Gaga, and Michelle Obama. Burton’s design for the dress was subsequently created by the Royal School of Needlework. Burton who also designed the Bridesmaid and afterparty dresses, described the process of working with Middleton as an experience of a lifetime. Burton had earlier come to the notice of Middleton when attending the 2005 wedding of Tom Parker Bowles, son of Camila, with Sara Buys a fashion journalist. Inspired by Imogen Fox ow.ly/4KzQn image source TimeInc ow.ly/4KzNO
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Then there was Charles Bukowski.
Not the kind of poet who arrives wearing a clean shirt and asking politely whether you have a moment for literature. Bukowski came through the back door. He smelled like cigarettes and cheap whiskey and long nights and bad decisions. He wrote about drunks and gamblers and loneliness and women and racetracks and office jobs and the strange little humiliations that make up a human life.
He had no great interest in pretending that people were better than they were. And maybe that was his gift. And that’s what I love about him. Because Bukowski looked at the world without washing its face first. He found poetry in the places where poetry wasn't supposed to be. In a dirty apartment. At the racetrack. In a bar at two in the morning. In the terrible silence after somebody leaves. In the man sitting alone with a typewriter, wondering whether anybody on earth would ever understand what he was trying to say. He understood failure. Not as a concept. As a daily visitor.
And yet there was something strangely romantic about him.
You see underneath all that bitterness was a man who desperately believed in something beautiful. You don't spend your life writing if you don't believe that words can somehow rescue a moment from disappearing. That's the contradiction of Bukowski.
He tells you life is ugly, and then spends thousands of words proving that it can still be beautiful. He tells you people are ridiculous, and then writes about their loneliness with an almost unbearable tenderness. He tells you not to expect too much from the world, while quietly expecting everything from the page.
Bukowski never asked us to become better people before we were allowed into the story.
He let us be tired.
He let us be angry.
He let us be broke and lonely and confused and a little bit drunk on a Tuesday afternoon.
And somewhere between the cigarette smoke and the bad coffee, he'd remind us that being alive is already a strange enough thing. You don't have to win. You don't even have to understand it. Sometimes you just have to stay up late enough to hear the typewriter. And if you're lucky you might hear a poem coming through.
—
-Roll the Dice-
if you’re going to try, go all the way.
otherwise, don’t even start.
if you’re going to try, go all the way.
this could mean losing girlfriends,
wives, relatives, jobs and maybe your mind.
go all the way.
it could mean not eating for 3 or
4 days.
it could mean freezing on a
park bench.
it could mean jail,
it could mean derision,
mockery,
isolation.
isolation is the gift,
all the others are a test of your
endurance, of
how much you really want to
do it.
and you’ll do it
despite rejection and the
worst odds
and it will be better than
anything else
you can imagine.
if you’re going to try,
go all the way.
there is no other feeling like
that.
you will be alone with the
gods
and the nights will flame with
fire.
do it, do it, do it.
do it.
all the way
all the way.
you will ride life straight to
perfect laughter,
it’s the only good fight
there is.
// Charles Bukowski, written near the end of his life in 1991.
ink, watercolor on paper
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With lyrics that are unabashedly risqué, provocative, and laced with biting sarcasm, wrapped in music that is simultaneously playful and exquisitely melodic, Brian Eno's second solo album, “Taking Tiger Mountain (By Strategy)”, released in November 1974, refuses to submit to the convenience of labels. Art rock, glam rock, experimental rock, art pop, avant-garde, surrealism, conceptual pop—every category captures a fragment while missing the whole. The album exists in the fertile space where irony dismantles convention and melody disguises subversion.
Its magistral cover offers the first clue. Photographed by Eno's then-partner Sarah Greaves, the image presents him in military attire, suspended somewhere between historical fiction and absurdist theatre. The title itself comes from a revolutionary Chinese opera celebrating the Communist capture of Tiger Mountain during the Chinese Civil War. Eno was captivated not by ideology, but by the poetry of the phrase "Taking Tiger Mountain (By Strategy)." He transforms military strategy into artistic strategy, replacing propaganda with ambiguity and certainty with imagination. The cover is not an illustration of the music but an invitation into its labyrinth, a place where myth, performance, history, and parody dissolve into one another.
Long before ambient music became synonymous with his name, and before he became one of the most influential producers in “contemporary” music, Eno was dismantling the expectations of what a rock record could be. “Taking Tiger Mountain (By Strategy)” is not an album that seeks approval through coherence; it celebrates contradiction as a creative principle. The sixth track, “Third Uncle”, is the ultimate example.
More than fifty years later, the album remains startlingly modern because it refuses to explain itself. It simply invites the listener to enter its strange world and rewards anyone willing to get lost inside it.