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Another long exposure, shot at Bandstand at Bandra, just at sundown. I know sunset shots are super-overdone, but this is a first for me in long exposures + HDR. I am pretty pleased with the result, but I know there are so many areas to improve upon. Also, I finally feel like I can make use of the 2 ND8 filters I bought now that this year's heavy monsoons are over.
I forgot again to carry a flashlight to these dark rocks (which are slippery enough to break your back), but I managed to tread about alright.
Converted to HDR from 1 RAW file. Been shooting RAW only recently but, boy! do I now see what the hype was all about!
More images: Facebook page.
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
Sarah Sze the 42 year old American contemporary artist who uses ordinary objects to create sculptures and site-specific installations, states “I want people to stop and look at my art”. Sze’s latest installation profiled by Vanessa Thorpe for the Observer at the London Victoria Miro gallery, Thorpe states “…known for the involving intricacy of her sculptural work, but this dramatic piece, which now dominates a room … seems in danger of hypnotising even her. It is a theatrical construction that plays with light and water and yet is made entirely of household items. …The installation reminds me of student storage, with desk lamps, electric fans, paperclips, stepladders, books, chairs, and the added intimacy of folded clothes and a sleeping bag. Sze picks up bits and bobs everywhere she goes, she says; happy to exhibit the trace of her travels. … A talent for subtle showmanship has won her an international reputation and next year she will represent the US at the Venice Biennale. She is always thinking about the way the viewer sees her art and wants visitors to the London show to feel drawn to a "backstage area", to glimpse things they feel they were not intended to. … "I am aware people might dismiss my art, but I'm interested in getting them to stop and look; for no other reason than that is what I do.” Inspired by The Guardian ow.ly/c4XGD image source Columbia University ow.ly/c4Yqi
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26/06/2012 : Marseille 3e, bd National / rue de Strasbourg, îlot National : exposition Une collection de collections (Maryvonne Arnaud et Philippe Mouillon)
collection d'art populaire sud-africain (Guy-André Lagesse)
In February 2006 Craig Tracy opened the PaintedAlive Gallery in his home city, New Orleans, La, USA. PaintedAlive is the first gallery in the world dedicated exclusively to fine art Bodypainted images. But where did his passion for using the human body as a canvas start?
Read on...
Poets;
The Bookstore Project - Music & Poetry Session;
Podium Mozaïek en Stadsdeel West: WESTwaARTS;
Erasmuspark, Amsterdam,
August 4th, 2013;
© co broerse
circa 1965, Manhattan, New York, New York, USA --- Andy Warhol Looks Adoringly at Edie Sedgwick --- Image by © Steve Schapiro/Corbis
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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Curious onlookers at the python enclosure, Byculla Zoo / Rani Bagh / Victoria Gardens or as it is now known, Veermata Jijabai Bhonsle Udyan.
Other street work HERE.
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.
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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