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This is a colored pencil drawing, rendered in a cubistic style. This particular drawing is about ritualistic foklores, pertain, to young girls given in marriage by their parents.
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:
Textual substance:
"আমাদের মণিহীন সাদা চোখ থেকে কথাগুলি - সব কথা, সব শব্দ, সব বোধ, সব কিছু - হারিয়ে গিয়েছে। আমাদের মণিহীন সাদা চোখে রোজ রোজ সকাল নেমেছে।"
"Words are lost from our pupil-less white eyes – every word, every phrase, every sense, everything. Morning filled our pupil-less white eyes, everyday."
A Glitch “Rati-Mayavati (Ράτι-Μαγιαβάτι) ~ Ètude I”
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#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
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.
The progress, the process, the dimension, the size, some details.
Invited to paint on STPLN's windows.
Acrylic, posca and paper on glass.
Saturday and Sunday all day painting.
With Kraftwerk, The Doors and Nitzer Ebb
the result.
Go down, look closer, see it live (it's never the same)
15 September - 05 October
STPLN
Stapelbäddsgatan 3
211 19 Malmö
More about stpln.se/event/window-project-loana-ibarra/
The Stpln Window Project is a collaboration with Little Finger www.little-finger.com/
facebook www.facebook.com/LIM.LoanaIbarraMazari
instagram loanaibarra
twitter twitter.com/LoanaIbarra
contact ibarraloana@gmail.com
Model: Hayley W.
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
FFX 2008 © florbela's fotographix
Jacob Paul “Jake” Tapper the 41 year old American print and television journalist is currently the senior White House correspondent for ABC News in Washington, having been appointed to the position in 2008 the day after Barack Obama’s presidential election. Tapper had covered the then-senator’s campaign and during the course of 2010 was the interim anchor of ABC’s This Week. Tapper has revealed himself at a more personal note on his twitter profile, however cautions followers that “Dissecting my tweets with Talmudic meticulousness will result in wrong conclusions. RTs do not = endorsement”. Tapper continues to sub on This Week Sunday announcing interviews pending with George Clooney and John Prendergast about their new high tech Sudan Sentinel satellite project, and the roundtable with George Will, Donna Brazile, Amy Walter and Major Garrett.Pop Art - a rolling daily diary comprising a manipulated digital art collage that visually documents a local, political or international event of popular culture based on fractured photographic images.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, this work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our subconsciousness.
This work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
This work considers elements of Pop Art through an artistic and conceptual exploration of specific people and events of the day. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.
That's my cousin, Virat when he was visiting us from Delhi. A very willing model for photographs; anytime-any place, it was a win-win situation for the both of us. It allowed me to work on my portrait techniques a lot.
More images: Facebook page.
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
Location: Provincial Capitol Of Ilocos Norte
Approximately 5,000 children from all public elementary schools of Ilocos Norte joined this event to share their talents.
DLECTRICITY 2012 Installation, Artists: Tsz Yan Ng with Helena Kang & Justin Kollar
To mark the 40th anniversary of the sculpture Gracehoper by Tony Smith at the DIA, StereoNegative is both a tribute to the great sculptor and an installation project designed and produced specifically for the Dlectricity event. StereoNegative extracts the negative space of Gracehoper to create an inhabitable pavilion (at ¾ scale) on the lawn of the DIA.
www.dlectricity.com/the-exhibition/projects/2-stereonegat...
SOOC
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
(for English scroll down)
* Survival AIDS Mummification Transformation *
Neuen Gesellschaft für bildende Kunst (nGbK)
Berlin - 16. Februar 2014
Eine Performance von Hunter Reynolds
In Zusammenarbeit mit Goran Tomcic
Mitwirkende: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Seit 1999 hat Hunter Reynolds über 25 "Mumifizierungen" in ganz Europa und den Vereinigten Staaten durchgeführt. In Verbindung mit der aktuellen Ausstellung LOVE AIDS RIOT SEX II in der Neuen Gesellschaft für bildende Kunst (nGbK), Berlin, hat Reynolds die "Survival AIDS Mummification Transformation" performt.
Diese seltenen Performances sind körperlich und emotional zermürbend und gleichzeitig inspirierend - sie evozieren sowohl Wiedergeburt als auch Wiederauferstehung. Seit über zwanzig Jahren nutzt Reynolds Fotografie, Performance und Installation, um seine Erfahrungen als HIV-positiver schwuler Mann auszudrücken. Bei der Gestaltung der Mumienhaut wird er mit Goran Tomcic zusammenarbeiten.
Goran Tomcic ist ein Künstler und Schriftsteller. Er wurde 1964 im ehemaligen Jugoslawien geboren, ist kroatischer und US-amerikanischer Staatsbürger und lebt und arbeitet derzeit in Berlin. Er hat einen MA in Curatorial Studies vom Center for Curatorial Studies am Bard College (1996). Seit 2000 stellt er seine Kunst international aus und ist Empfänger des Pollock-Krasner-Stipendiums (2007). Seine Gedichte und Kunstkritiken wurden seit Mitte der 80er Jahre international veröffentlicht.
Hunter Reynolds ist bildender Künstler, AIDS-Aktivist und Mitglied von Visual AIDS Artist. Er war ein frühes Mitglied von ACT UP New York und war 1989 Mitbegründer von Art Positive, einer ACT-UP-Affinitätsgruppe zur Bekämpfung von Homophobie und Zensur in der Kunst. Reynolds' Arbeiten beschäftigen sich mit Fragen der Geschlechtsidentität, der politischen, sozialen und sexuellen Geschichte, mit Trauer und Verlust, Überleben, Hoffnung und Heilung. Einige seiner bekanntesten Performance-Projekte sind "The Patina du Prey's Memorial Dress"; die Dokumentation über Reynolds Memorial Dress war Teil von LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" und "Mummification Series". Er hat an großen Performance-Projekten wie "The Banquet" mit Chrysanne Stathacos und "I-Dea - The Goddess" mit Maxine Henryson mitgearbeitet.
Hunter Reynolds wurde mit zahlreichen Stipendien und Aufenthaltsgenehmigungen ausgezeichnet, darunter mehrere Pollock-Krasner-Preise. Er hat zahlreiche Einzelausstellungen gehabt, darunter: PPOW Gallery, Participant Inc., Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Deutschland; und documenta, Kassel, Deutschland. Seine Werke befinden sich in zahlreichen öffentlichen und privaten Sammlungen, darunter das Chicago Art Institute, Yale und das Addison Andover. Die Fales Library and Special Collections/New York University hat kürzlich die Archive von Hunter Reynolds für ihre Downtown Collection erworben. Er wird von der PPOW Gallery vertreten.
"Kunst war schon immer eines der Mittel, die ich eingesetzt habe, um mich selbst und andere zu heilen und Ordnung in das Chaos meines Lebens zu bringen, indem ich nicht nur die Geschichte durch die Kunst erzählte, sondern mich selbst im Prozess des Schaffens verwandelte, indem ich sie nutzte, um mein Leben neu zu gestalten, Hoffnung und Schönheit zu finden und den Wunsch, lebendig zu sein." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
archiv.ngbk.de/projekte/love-aids-riot-sex-2/
____________________________________________________
* Survival AIDS Mummification Transformation *
New Society for Fine Arts (nGbK), Berlin - February 16, 2014
A performance by Hunter Reynolds
In collaboration with Goran Tomcic
Contributors: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Since 1999, Hunter Reynolds has performed over 25 "mummifications" throughout Europe and the United States. In conjunction with the current exhibition LOVE AIDS RIOT SEX II at the Neue Gesellschaft für bildende Kunst (nGbK), Berlin, Reynolds has performed the "Survival AIDS Mummification Transformation".
These rare performances are physically and emotionally grueling yet inspiring - evoking both rebirth and resurrection. For over twenty years, Reynolds has used photography, performance and installation to express his experiences as an HIV-positive gay man. He will be collaborating with Goran Tomcic on the design of the mummy skin.
Goran Tomcic is an artist and writer. He was born in 1964 in the former Yugoslavia, is a Croatian and US citizen and currently lives and works in Berlin. He holds an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College (1996). He has exhibited his art internationally since 2000 and is a recipient of the Pollock-Krasner Fellowship (2007). His poetry and art criticism have been published internationally since the mid-1980s.
Hunter Reynolds is a visual artist, AIDS activist and member of Visual AIDS Artist. He was an early member of ACT UP New York and in 1989 co-founded Art Positive, an ACT UP affinity group to combat homophobia and censorship in the arts. Reynolds' work deals with issues of gender identity, political, social and sexual history, grief and loss, survival, hope and healing. Some of his best known performance projects include "The Patina du Prey's Memorial Dress"; the documentary about Reynolds Memorial Dress was part of LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" and "Mummification Series". He has collaborated on major performance projects such as "The Banquet" with Chrysanne Stathacos and "I-Dea - The Goddess" with Maxine Henryson.
Hunter Reynolds has been awarded numerous grants and residencies, including several Pollock-Krasner awards. He has had numerous solo exhibitions including: PPOW Gallery, Participant Inc, Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Germany; and documenta, Kassel, Germany. His work is in numerous public and private collections, including the Chicago Art Institute, Yale, and the Addison Andover. The Fales Library and Special Collections/New York University recently acquired Hunter Reynolds' archives for their Downtown Collection. He is represented by PPOW Gallery.
"Art has always been one of the tools I have used to heal myself and others and bring order to the chaos of my life, not only telling the story through art, but transforming myself in the process of creating, using it to reshape my life, finding hope and beauty and the desire to be alive." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
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.
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.
C431_31
16/08/2009 : Saintes-Maries-de-la-Mer, château d'Avignon, exposition "Château en chantier" : Cement Truck (Wim Delvoye, 2008)