View allAll Photos Tagged VisualArtist
তীব্র রেখার বাহানা এ পর্যায়ে একটি চমৎকার ছবি হয়ে ওঠে
The text written on the image can be roughly translated as,
"The excuse of passionate lines become A NICE image, at this stage."
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.
1946, Tokyo, Japan --- A Japanese tattoo artist works on the back of a woman. --- Image by © Horace Bristol/CORBIS
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.
Jane Rogers the 59 year old UK novelist and teacher, best known for her novel ‘Mr Wroe's Virgins and The Voyage Home’ has won the Arthur C. Clarke Award for science fiction, for her first novel in the science fiction genre ‘The Testament of Jessie Lamb’, a narration by a fictional teenager. The award director Tom Hunter, stated "It wasn't an obvious Arthur C Clarke winner – it's not from a science fiction publisher but from a small Scottish press. But I don't think anyone was surprised it was nominated. It really is a very good book and it has found a real audience in the science fiction readership, it offers a route into dealing with quite serious issues, about science, about maternity and about making choices." Described by Alison Flood in The Guardian as a “vision of a world crippled by biological terrorism… Taking place in a world in which a deadly virus, Maternal Death Syndrome, affects all pregnant women, putting the future of the human race in jeopardy, The Testament of Jessie Lamb is the story of one 16-year-old who decides she wants to save humanity. She volunteers for a programme in which she will be injected with an immune embryo, but also put into a coma from which she will not recover.”
Este proyecto parte como solución a la cuarentena que estamos sufriendo, al tener Asma me veo totalmente forzado a trabajar dentro de casa. Siendo hiperactivo es una especie de condena. Siempre me gustó la idea de mezclar la fotografía con las diferentes artes. Lo que buscaba era lograr algo tridimensional en una bi-dimension y sugerir esa mirada microscópica o totalmente contraría, un escape al encierro, una cura a la cuarentena, al virus y a mí. Un escape abstracto al encierro mental…
Para ver más:
This proyect born as an answer to the quarantine, as an Asthmatic I'm really worried and forced to be inside home. I'm hiperactive too so been in this situation is a kind of confinement.
I always liked the idea of mix photography with diferents kind of visual arts. What I wanted was to get something tridimesional in a 2d image and sugest something microscopic or totally opossed like an abstract scape to the mental closure.
If you want to see more:
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.
A Glitch “Cárites (Χάριτες) ~ Ètude VIII”
by ™℗®© Louis M o n t i e l
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
Vimeo ~ Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
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
*Loana Ibarra dör (dies)*
She left behind an Animita - a house for the soul and a portal for you to her immortal person.
If you've got the chance go to Malmö Live and experience Loana's Animita in live version.
The Animita is made of wood and she is 2m tall.
The house 1m x 1m.
Experience the symbols, the different techniques and materials as embroidery, hair, the hundreds handmade paper flowers and of course the roof.
You will not regret!
Fragments will be published during some days en el Instagram.
Coming soon here too!
Go and check it out!
instagram loanaibarra
twitter twitter.com/LoanaIbarra
facebook www.facebook.com/LIM.LoanaIbarraMazari
26 October - 1 November
Malmö Live
Dag Hammarsköljds torg 4, Malmö
Animitas is a project for Malmö Live in cooperation with Little Finger.
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
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.
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
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
Portrait Andreas B. Vornehm: Autor, Betreiber des des Kreativbüros für Texte und visuelle Kommunikation "MINI-KASHUGI", Grafik-/Webdesigner, Herausgeber des Berlin Kurzgeschichtenheftes "Storyatella"
©crazyneopop All Rights Reserved. This image is not available for use on websites, blogs or other media without explicit written permission
© crazyneopop Alle Rechte vorbehalten. Dieses Bild ist nicht für den Einsatz auf Websites, Blogs oder anderen Medien ohne ausdrückliche schriftliche Zusage
watch the tv interview on this link here:
www.youtube.com/watch?v=E3QpRhAsju4
Web | avriahartworkz.blogspot.com/
Instagram | @angelateido
Me at my desk in my studio's little office, at midday on Monday. Shot at arm's length (I have to use both hands). Other than the square cropping, unaltered. File name: ~ArmsLSP_sq691.jpg
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.
Sagrado Feminino | saudação a Iemanjá | performance para Bienal do Pilarzinho 2017 | Investigação | #artista #artistavisual #orixas #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #pb #atelierdach #iemanjá #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art #artista
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
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.
Daydreamers, believers, doubters, and those of you who have misplaced your faith somewhere between the bus station and the last train home.
Today we celebrate Leonard Cohen.
Leonard Cohen. A name that sounds like it ought to be written on the door of a small hotel where nobody asks your name and the piano player knows three chords too many. He came from Montreal, from a Jewish family, from poetry and novels and the long corridors of thought where a man can spend ten years looking for a woman, a God, or a rhyme. And then, somewhere along the way, he picked up a guitar. But before there was the voice, there was the page.
What is a poem, anyway?
It's a letter you don't know where to send.
It's a match struck in a dark room.
It's a wo/man standing at the window at three in the morning, looking at the moon and wondering whether the moon is looking back.
Cohen wrote about women and God, about desire and death, about the body and the soul — although with Cohen those were never entirely separate departments. He could put a naked woman beside a biblical prophet and somehow make both of them seem equally at home. That's one of the things about his poetry.
Now, guitars have been blamed for many things. Broken hearts. Bad haircuts. Unwanted poetry. But Cohen’s guitar seemed to have been waiting for him all along, like an old dog on a porch.
He sang about love, but not the kind you find printed on greeting cards. His love had debts. It had cigarettes burning down in ashtrays. It had hotel rooms, unanswered prayers, women leaving in the morning. It had saints and sinners sitting at the same table, neither one quite sure which was which.
And then there was God.
Cohen spent a good deal of time with God. Not always comfortably.
Sometimes he approached the Almighty like a man approaching a locked door.
Sometimes like a lover.
Sometimes like a lawyer with evidence.
And sometimes, perhaps, like a man who had finally realized that the argument itself was the relationship.
He wrote songs where heaven and the bedroom seemed to share a wall. Songs where the sacred wore the clothes of the ordinary. Songs where brokenness wasn't something to hide but something to sing through.
And maybe that's why people kept listening. Because Leonard Cohen never seemed particularly interested in pretending that life was going to make sense.
He knew about failure.
He knew about desire.
He knew that the heart is a complicated instrument, and that most of us spend our lives trying to play it without reading the instructions.
There was darkness in those songs, sure.
But darkness is not the same thing as despair.
A man can sit in a dark room and still hear somebody laughing in the kitchen.
A woman can walk out the door and leave behind a song.
A prayer can go unanswered and still be worth saying.
And somewhere in all of this is Leonard Cohen, standing beneath the moon with a notebook in one hand and a cigarette in the other, trying to decide whether the world is holy or merely strange.
Maybe it's both.
So this day wherever you are—at a kitchen table, behind the wheel, beneath the sheets, or staring through a window at a city that doesn't know you're watching it—put on a Leonard Cohen record. Turn it up just enough to hear the words. Not too loud. These are not songs that need shouting. They're the kind that wait. And if you listen long enough, you may discover that Leonard Cohen wasn't singing about perfect love, or perfect faith, or perfect anything. He was singing about what remains after perfection leaves the room.
And that's quite a lot.
More than most of us deserve.
More than most of us understand.
—
THE PRO
I leave my silence to a co-operative of poets
who have already bruised their mouths against it.
I leave my homesick charm to the scavengers of spare change who work the old artistic corners.
I leave the shadow of my manly groin to those who write for pay.
I leave to several jealous men a second-rate legend of my life.
To those few high school girls who preferred my work to Dylan's
I leave my stone ear and my disposable Franciscan ambitions
//from the Nashville Notebooks of 1969
ink, watercolor on paper
contact ibarraloana@gmail.com
Model: Hayley W & BMG Vancouver - Brittney A
Assistant: Janaye K
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
Copyright : FFX 2008 © florbela's fotographix
Chen Guangcheng the 40 year old Chinese civil and human rights activist on issues in rural areas of the People's Republic of China will be permitted to apply to study abroad, in attempts to resolve the standoff over his future. Chen blind from an early age and self-taught in the law, is frequently described as a "barefoot lawyer" who advocates for women's rights and the poor. He is best known for exposing alleged abuses in official family planning policy, often involving claims of violence and forced abortions. Chen escaped from house arrest in Shandong province with the help of his supporters from under the noses of dozens of guards, fleeing to safety in the US embassy. Chinese authorities upset about the United States harbouring the critic of its government, had created a sensitive situation potentially threatening to become a major diplomatic issue. To defuse the issue, Chen was subsequently taken from the embassy, delivered to a hospital, and a Chinese foreign ministry spokesman, Liu Weimin stated, "Chen Guangcheng is currently being treated in hospital. If he wants to study abroad, he can apply through normal channels to the relevant departments in accordance with the law, just like any other Chinese citizen." Implying his potential exile to the USA where Chen had been offered a fellowship by an American university.
Shahin Najafi the 31 year old Iranian musician singer and social activist residing in Germany, has gone into hiding following Iranian clerics placing a $100,000 bounty on his murder. Najafi has been condemned for violating a ‘fatwa’ that calls for the execution of anyone who blasphemes Ali an-Naqi, one of the 12 imams or religious figures revered by Shia Muslims. Najafi released a song "Naqi" that takes its name from Ali an-Naqi, its lyrics oppose the oppression and human rights abuse following the 2009 contested Iranian presidential election. Its lyrics call on Naqi to intervene and save the country. Najafi's songs generally touch on sensitive issues such as “theocracy, poverty, sexism, censorship, child labor, execution, drug addiction and homophobia”. The Independent reports the “The Iranian religious website, Shia-Online, put a $100,000 bounty on the singer's head and said he deserved to die for "grossly insulting" Ali an-Naqi. More than 100 people have joined an online "campaign to execute Shahin Najafi". Mr Najafi is popular within the 120,000-strong Iranian community in Germany. Brought up in a small port in southern Iran, he fled to Germany in 2005 after being threatened, apparently by Iranian intelligence, for staging underground concerts. Tehran has so far made no comment on the fatwas against Mr Najafi.” Inspired by The Independent ow.ly/bgE2m image source Wikipedia ow.ly/bgDYs
Some records don't arrive in your life; they wait for you. Like an old friend leaning against a wall outside a cantina, patient enough to know you'll eventually come around. That's how Caifanes has always felt to me.
Shadows. Or maybe Snakes. Or perhaps simply Mexico at Midnight. That's where Caifanes has always lived—not on the maps sold to tourists, but in that mysterious country where pre-Hispanic myths, post-punk guitars, desert winds, Catholic iconography, and the poetry of loneliness all gather around the same fire.
In the late 1980s, while much of the Spanish-speaking rock world was still trying to decide whether it wanted to imitate London, Los Angeles, or Buenos Aires, Caifanes looked inward. They reached back toward forgotten rituals and indigenous imagery while carrying the angular guitars and atmospheric textures of bands like The Cure, yet somehow they sounded like none of them. They built a language entirely their own. You could dance to it, but you could also disappear inside it.
The voice of Saúl Hernández wasn't merely singing songs; it was invoking spirits. Every line seemed to emerge from a place older than radio itself, where stories were passed from one generation to another beneath impossible skies.
Then came the album El Diablito. A title that sounds mischievous until the needle touches the groove.
This isn't an album about the devil. It's about temptation, transformation, identity, and the strange conversations we have with ourselves when the lights go out. Released in 1990, El Diablito found Caifanes expanding every corner of their sound. The guitars became more adventurous, the rhythms more hypnotic, and the songwriting more fearless. The record doesn't simply follow its predecessor, it opens another door altogether.
Listening to the vinyl today is a reminder that certain albums were born for analog. The opening moments breathe differently. The bass has weight instead of volume. Alejandro Marcovich's guitar isn't merely heard; it hangs in the room like incense, drifting between the speakers before settling somewhere just behind your shoulder. The percussion feels almost ceremonial, while Hernández's voice carries the grain and vulnerability that digital perfection often polishes away.
Owning the complete limited vinyl box set isn't just collecting records. It's preserving a family album. Every sleeve, every lyric sheet, every carefully pressed disc becomes another chapter in the biography of a band that helped define modern Mexican rock without ever surrendering its identity.
And when I pull El Diablito from that box, there's always a small pause before lowering the stylus. Maybe it's respect. Maybe it's memory. Because I didn't discover these songs in a record store. I grew up with them. They were already in the house before I knew who wrote them. They floated through morning family gatherings, late-night drives to the coast of Oaxaca, open windows, and ordinary afternoons that only become extraordinary years later. Like the smell of rain or the sound of an old neighborhood, Caifanes became part of the architecture of memory. La célula que explota.
That's the remarkable thing about certain bands. Historians can explain where they fit in the timeline of rock en español. Critics can analyze the chord changes, the production, or the cultural significance. All of that matters. But none of it explains what happens when the first notes arrive and suddenly you're eight years old again. That's history too. Not the kind you'll find in textbooks, but the kind pressed into vinyl grooves, carried through generations, and remembered every time the record spins at thirty-three and a third revolutions per minute.
Some bands make albums. Caifanes built a mythology. And every time I open that box set, I remember that myths aren't relics from the past. They're living things. They wait patiently on our shelves until we're ready to listen once more.
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.
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.