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circa 1965, Manhattan, New York, New York, USA --- Andy Warhol Looks Adoringly at Edie Sedgwick --- Image by © Steve Schapiro/Corbis
Some exploring of the retro styles of Indian poster making.
And yes that is a Charles Bronson ticker tape down there. It's just there.
More images: Facebook page.
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A Glitch "Voluptas (ευχαρίστηση) ~ Ètude I
From my PhD and Research about "Artistic Practices, Digital Art in Social Networks & Net Art"
#visualartist #digitalart #digitalwork #glitchart #glitch #pixelsorting #glitchartistscollective #glitch #photo #photoart #art
"Tic-Tac" 19cm
Acrylic, mixedmedia on cork.
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1946, Tokyo, Japan --- A Japanese tattoo artist works on the back of a woman. --- Image by © Horace Bristol/CORBIS
Imagine a dialogue of live video art, contemporary music instruments, scent and performance art. A group of Greek artists from different disciplines come together for one single and unique performance, acting and reacting to their senses. You are invited to experience the Monologue Dialogue with your eyes, ears and nose.
www.mediamatic.net/en/page/368174/monologue-dialogue
Photographer: Margherita Soldati
- Louisiana Literature 2026 -
I enjoyed Louisiana Literature. I really did. It was interesting, stimulating, beautiful, and, at times, genuinely moving. This is worth saying because criticism today seems to require an immediate position of either admiration or rejection, as though one must decide whether an institution is good or bad before one is allowed to experience it. I found much to enjoy at Louisiana, and precisely because I enjoyed it, I also found its contradictions fascinating.
Louisiana Literature has the appearance of an event dedicated to literature, but, like so many contemporary cultural festivals, it is also an exhibition of its own audience. The writers are on stage, but the public is part of the work: dressed according to the codes of cultural distinction, carrying the correct books, applauding at the correct moments, participating in the collective performance of being interested in culture.
I was there, and among the many encounters, three remained particularly striking: Anne Carson, Tanya Tagaq and Vincenzo Latronico.
Anne Carson’s performance demonstrated what literature can still do when it refuses to behave like an accessory to an event. Her writing does not need the theatrical machinery of cultural prestige to become important; it already contains its own instability, its own intelligence, its own capacity to disturb the expectations of the audience. Watching Carson was to encounter a writer who treats language not as a vehicle for an opinion but as a material capable of producing uncertainty. The performance did not illustrate the literature. It made the literature happen.
Then came Tanya Tagaq, whose music destroyed, at least temporarily, the polite distance that literary festivals normally impose between performer and spectator. Her voice does not ask for the contemplative silence of the cultural consumer. It enters the body. It is physical, excessive, uncomfortable. In a festival where so much depends upon listening correctly, being a part of an aesthetic clan, looking exactly like your neighbor, Tagaq reminded us that listening can also mean losing control.
And then there was Vincenzo Latronico.
His presence was particularly ironic because his novel “Perfection” is precisely about the kind of world that literary festivals can so easily reproduce: the young cosmopolitan who moves to Berlin because Berlin is where one goes; who follows the right accounts because they reveal what one ought to desire; who buys the right objects, occupies the right cafés, knows the right artists, arranges the right apartment, and eventually converts all of these choices into the appearance of an individual identity.
Latronico's satire is aimed at this political fashion of lifestyle: the transformation of ideology into decoration, politics into taste, rebellion into real estate, and individuality into a series of purchasable references. His Berlin couple does not merely consume objects. They consume the idea that consuming these objects makes them different. Their freedom is assembled from identical pieces.
This is where the talk became almost too perfect.
Because in the audience there were people who seemed to belong precisely to the world Latronico was describing. The people laughing at the joke were, in some cases, the joke.
The critique of the hipster was being applauded by hipsters. The critique of Instagram culture was being received by people who would probably photograph the event, select the appropriate angle, apply no filter because no filter is now the correct filter, and publish the experience as evidence of having participated in culture.
There is something wonderfully absurd about this.
The contemporary cultural spectator has learned to consume criticism without allowing it to become critical. Everything can be absorbed as a reference. Even the denunciation of a lifestyle can become another lifestyle accessory. One can read a novel against gentrification while living comfortably inside the aesthetic world that gentrification produced. One can criticize cultural fashions while remaining perfectly fashionable. One can denounce the mechanisms of distinction while collecting distinctions. Latronico understands this contradiction because “Perfection” is built around it. His characters are not simply ridiculous. They are recognizable because their desires have already been standardized. They want to be unique in exactly the same way as everyone else.
And perhaps this was the most interesting thing about Louisiana Literature 2026: not the contradiction itself, but how comfortably the contradiction could sit in the audience.
The festival offers literature as an experience, and experience has become one of the most valuable commodities of contemporary culture.
We no longer simply read a writer. We attend the writer. We photograph the stage. We remember who was there. We accumulate encounters with authors, artists and musicians as another form of cultural property. Louisiana, with its extraordinary setting, makes this particularly visible. The sculpture park, the architecture, the sea, the international writers, the beautiful audience: everything is already composed. Nothing is ugly enough to interrupt the aesthetic coherence. Even dissent arrives beautifully framed. And yet, in the middle of this highly curated environment, Carson, Tagaq and Latronico produced three different forms of resistance.
Carson resisted through language. Tagaq resisted through the body. Latronico resisted through irony.
The question is what happens to resistance when it becomes an event, when it acquires a stage, a programme, a ticket, a beautiful audience and an institutional identity.
Perhaps the most contemporary image of the festival was therefore not the writer on stage, but the audience applauding Latronico.
There they were: the people who had moved to Berlin because it was cool, bought the objects because they looked authentic, followed the accounts because everyone else followed them, and perhaps now applauded a writer explaining precisely how absurd this entire mechanism is. They were not outside the critique. They were inside it.
And that is what made the moment so funny—and, finally, so disturbing. Because the great success of contemporary cultural criticism may be that it no longer needs to change anyone.
Kehinde Wiley the 35 year old American portrait painter, who is known for his highly naturalistic paintings of contemporary men in heroic poses has been profiled by Ben Davis for ArtInfo as ‘How the Artist Painted Himself Into a Corner With His New Works’. Davis states “Wiley’s much-hyped… series of large oil-on-linen paintings in the same near-photorealist, mock-baroque style that made Wiley famous in the first place, though this time depicting African-American women (instead of men) who have been cast from the streets of the Bronx and Queens, each of them clad in frothy couture made for their sittings by fashion designer Riccardo Tisci, in poses inspired by works from the Louvre. …his big breakthrough during a residency at the Studio Museum in Harlem, where he decided to cast young men off the street and paint them in the heroic terms of royal portraiture. The result was a clever merger between street style and postmodern painting. It’s a good formula. Possibly too good. It suggests intelligence (in the art-historical references) and social conscience (in the focus on the African-American community), but is also neither particularly hard to digest nor particularly confrontational. …On some level, Wiley is aware that he is a prisoner of his own success. He has tried to change things up …[but] did exactly the same thing…”Inspired by Ben Davis ow.ly/bWbwm image source Facebook ow.ly/bWbuj
art rotterdam 2016, art fair, van nelle factory, detroit house, artist: ryan mendoza
A home from Detroit is being demolished and shipped in containers to Europe. The home will be reconstructed at the main entrance of Art Rotterdam so visitors can experience the impressive installation by visualartist Ryan Mendoza, a world première.
A Glitch "Prodigiosum Contortion(σύσπαση) ~ Ètude V”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
NFT Crypto Digital Art
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #nfts #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #nftart #glitchartscollective #glitcharts #nftartist #glitchartwork #glitchartisdead #glitchartists #nftcommunity #nft #glitchartist #pixelsortingart #nftartists #creativecodeart #glitchportrait
3 days, Aroma is here!
Hurra!
She was born on a Friday just in time for celebration and weekend for life.
Her name is Aroma because she popped out with flowers all over her, they are still growing, and she smells just like a nice warm summer day.
Mmm, I wanna go back.
She wants me to tell you that she has the ability to look at you through her flowerish eyes and see you as a big field beautiful flowers, the real you.
Aroma is a mask alive, a collector.
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big size bit.ly/1OsJ4gS
I spent 10 days in Berlin ( late 2021). It was INCREDIBLE. So much brilliant and powerful street art.
D607_148
26/09/2011 : Jersey City, NJ, Liberty State Park: Empty Sky (New Jersey September 11th Memorial) (Jessica Jamoz, Frederic Schwartz, 2011)
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
All Fingers Must Point Down
"*!\SERIOUSLY/!*EXCEED The "Courage" Of Your Restrictions. Your Own Inner Light Alone Is The Only KEY. Shine Through, Shine oN. Early Adopter, Late Bloomer--DON'T Let THIS NAO PASS Into Never SAW What It Came To MEAN...That You Completely SEE..."--Wyatt Matturs--(OneStrokeArtWater) MRI (MysteryRepeatsItself) The World's First Bowhammer Cymbalom CD "Radically Repurposed" For Surreal Form, Spectral Figure, & Haunted Face-Lift From 'Flared' Bodies Of Water (Sea, Lake, Creek, Puddle) StillorMoving
MAIN GALLERY CURATION IN PROGRESS (From Thousands)
Meyer's description of the creative process behind Adam and Eve and Friends. Full story found at www.jennycutlerlopez.com
Javier Sicilia the 56 year old Mexican poet, journalist and activist who launched a grassroots movement with aims to end the ‘War on Drugs’ after his 24 year old son was murdered by a drug cartel, has been interviewed by Connor Guy and Umar Farooq for The Nation magazine. Sicilia states “Cartels have a lot of bosses. We are talking now about fifteen cartels [in Mexico]. And they have multiplied since President Calderón’s [2006 military] strategy to make war on them. …A path to peace is to change the national security law to a human law for peace. And the allowance of regulated drug use, because its not a national security issue, it's a public health issue, and attacking drug abuse is causing a tremendous harm to the country. …The US has forbidden drug use, which should be a public health issue. And then they set up for us this war. Over $2 billion have been invested in this war [on drugs]—mostly for guns, for weapons and military intelligence. …if we can get support from the media, we would be able to put this on the politicians’ agendas, because it’s a problem in the US and Mexico. It’s a bi-national problem. Not only that, it is a continental problem, and if we are really serious, it is a world problem.” Inspired by The Nation ow.ly/bJ8I6 image source Twitter ow.ly/bJ8Gb