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N E W S !
Juried exhibition, consisting of, among others, the deirector of Moderna Museet Malmö.
For artists operating in Southern Sweden, Scania (Skåne) and Zealand (Själland, Denamark). 6 artists were selected.
"Mexico rides Sweden" was selected poster for the exhibition.
The exhibition will be on tour for 2 months. This is how the invitation looks like inside and outside the intraweb.
Welcomna!
WE go on tour!
Automotive Rhythms latest project combined our passions for automobiles and the arts. AR's 2016 Kia Sorento SXL 2.0T AWD was also the canvas for artist Jamaal Newman’s creation during the ART-of-Motion (AOM) exhibit in Washington, D.C. aka As ABOVE, So BELOW.
Jamaal was one of the featured visual painters of AOM produced and executed by Automotive Rhythms during the 2016 Washington Auto Show. He painted the Sorento live during the Auto Show in just under 13 hours. Inspired by the South Korean origin of Kia Motors and his research on the Korean War, the artist wanted his creation to symbolically unify North and South Korea. As ABOVE, So BELOW features a lion from Zion on the passenger’s side representing the North while a shark on the South guards the driver’s side. Unification is represented on the hood, meshing the Korean flag with the Yin and Yang badge to signify balance in Korea. Stated Jamaal, “Through my creative vision I wanted to bring equality and unity to Korea.”
Today we celebrate the one and only, one sitting high on the podium inside my head, a man who didn’t just play the guitar, he interrogated it. Put it under a bright light. Asked it questions it didn’t want to answer. Frank Zappa.
Frank Zappa didn’t look like a preacher, but he sure preached about freedom, about nonsense, about the way the U.S. sells you a dream and hands you the receipt later. He was a composer who dressed like a rock musician, or maybe a rock musician who hid a symphony in his back pocket. Hard to tell with Zappa. He liked it that way. Zappa believed intelligence should be loud. Not polite. Not tidy. And definitely not marketed. He wrote music that laughed at you while teaching you something and then laughed again when you thought you got the joke. Songs about consumer culture, political hypocrisy, and the great American pastime of not paying attention.
Frank Zappa’s music didn’t sit still. It paced. It argued with itself. Sometimes it tripped over the furniture on purpose. You couldn’t tap your foot to it unless your foot had read the instruction manual first. Zappa treated rock ’n’ roll like raw material, not a finished product. He mixed it with jazz, modern classical, doo-wop, rhythm and blues, and sounds that didn’t even have a name yet. I call it Zappaism. If it made people uncomfortable, that was usually a good sign. He wrote songs that changed time signatures the way most people change their mind. One minute you’re cruising, next minute the road disappears and you’re flying. And he demanded things from his musicians.
Precision. Attention. The kind of focus usually reserved for surgeons or chess players. Zappa didn’t believe chaos happened by accident. If it sounded wild, it was because someone practiced it that way. Every odd turn, every sudden stop, every note that made you say “wait — what?” was there because he put it there. His guitar playing wasn’t about speed for the sake of speed. It was conversational. Long solos that felt like a man thinking out loud, sometimes contradicting himself mid-sentence, sometimes landing on a truth he didn’t know he was chasing. And then there were the melodies, often sweet, sometimes ugly, frequently hilarious, and just as often beautiful when you weren’t expecting it. Zappa didn’t separate “serious” music from “funny” music. To him, humor was a form of intelligence. If you couldn’t laugh at the world, you probably weren’t listening closely enough. He wrote orchestral pieces that belonged in concert halls and garage-band anthems that sounded like they’d been recorded in the parking lot, sometimes on the same album, sometimes in the same song. Zappa’s music didn’t ask for your agreement. It asked for your attention. And if you gave it that, if you followed the twists, embraced the nonsense, and trusted that the man at the wheel knew where he was going you realized something: Frank Zappa wasn’t trying to fit into music history. He was writing footnotes, cross-references, and entire chapters that nobody else had thought to open yet.
Now here’s something that surprised a lot of people: Frank Zappa didn’t drink. Didn’t take drugs. Didn’t romanticize any of it. At a time when excess was being sold as enlightenment, Zappa looked at the whole parade and said, “No thanks. I’ve got work to do.” He thought drugs dulled the mind. Said they interfered with discipline. And discipline, to Zappa, was freedom, the freedom to finish what you start and hear what you actually meant to say. He saw addiction as a business model, not a rebellion. A way to keep artists foggy and audiences easier to sell to. If you wanted to play with Zappa, well, you had to keep away from drugs and alcohol to keep your jobb. But tobacco, that was a different story…
“Well, to me, a cigarette is food. Now that may be a baffling concept for people in San Francisco who have this theory that they WILL live forever if they stamp out tobacco smoke”
Zappa smoked. Didn’t pretend it was healthy. Didn’t dress it up as a philosophy either. He treated it like a tool, or maybe a vice he understood too well to mythologize. He once suggested cigarettes didn’t make you creative, they just gave you something to do with your hands while the ideas showed up on their own schedule. No halos. No slogans. Just honesty.
And that was Frank Zappa’s real protest: clarity. In a culture high on slogans, he stayed stubbornly sober, mentally, at least. Questioning everything. Refusing to play the role they wrote for him. Zappa didn’t want you to escape reality. He wanted you to look straight at it and notice how strange it already was. And that’s the kind of music that doesn’t fade out, it just keeps asking questions long after the needle lifts.
ink, watercolor on paper
contact ibarraloana@gmail.com
Ordered some business cards from MOO and I LOVE them!
Next up...website overhaul... I know what I want. Now, I just need to team up with a technical wizard. Know one? Are you one? Wanna work with a detail-oriented, ambitious creative type who has a ridiculously large costume collection and a wacky sense of humor? Let's talk. I need some help.
A Glitch "Prodigiosum Contortion(σύσπαση) ~ Ètude VI”
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
Marketplace on qurable.co : Buy, Shell & Explore Digital Assets
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You know, there used to be a belief that royalty was chosen by heaven. The ancient Egyptians thought kings were descended from the sun. Some folks believed monarchs could heal disease with a touch of their hand. But every once in a while somebody comes along who makes you wonder if maybe those old stories weren't entirely wrong.
Prince came from Minneapolis, Minnesota. Not exactly the place people expected to become the center of a musical empire. Most people think of Minneapolis and they think of snowbanks, frozen lakes, and windshield scrapers. Prince looked at all that ice and somehow found a way to turn it into fire. He played guitar like somebody trying to outrun a thunderstorm. Played piano, bass, drums, keyboards. Some people collect stamps. Some people collect cars. Prince collected instruments and taught them all to speak the same language.
The old blues singers used to talk about crossroads. Places where one road becomes another road and a person becomes somebody else. Robert Johnson supposedly found one down in Mississippi. Prince found one somewhere between funk, rock and roll, gospel music, soul music, and whatever planet he happened to wake up on that morning. You'd hear one of his songs come out of the record player and it sounded like tomorrow had arrived early.
There have always been musicians who wanted to be stars. Prince seemed more interested in becoming a constellation. He wore purple the way some people wear a uniform. Purple's a funny color. It's halfway between a bruise and a sunset. Roman emperors loved it because the dye was rare and expensive. Prince made it seem like it had been invented just for him.
People called him mysterious, but musicians understood exactly what they were looking at. They were seeing somebody who treated music the way a blacksmith treats iron. Heat it up, hammer it down, reshape it, start over. Again and again until it glows. A lot of performers spend their lives trying to fit into a category. Rock singer. Funk artist. Pop star. Prince treated categories the way a tornado treats a picket fence. One minute he'd be whispering something that sounded like a secret. Next minute he'd be leading a band that sounded like the end of the world arriving in high heels.
And maybe that's why people still talk about him the way they do. Not because he was perfect. Not because he was famous. Because every generation gets a few artists who remind everybody else that the rules were always optional. The rest of us learn the map. Prince kept drawing new roads. And if you happen to see one of those roads stretching off into the distance somewhere late at night, glowing purple under a streetlamp, you might want to follow it. It probably leads somewhere interesting.
ink, watercolor on paper
contact ibarraloana@gmail.com
Automotive Rhythms latest project combined our passions for automobiles and the arts. AR's 2016 Kia Sorento SXL 2.0T AWD was also the canvas for artist Jamaal Newman’s creation during the ART-of-Motion (AOM) exhibit in Washington, D.C. aka As ABOVE, So BELOW.
Jamaal was one of the featured visual painters of AOM produced and executed by Automotive Rhythms during the 2016 Washington Auto Show. He painted the Sorento live during the Auto Show in just under 13 hours. Inspired by the South Korean origin of Kia Motors and his research on the Korean War, the artist wanted his creation to symbolically unify North and South Korea. As ABOVE, So BELOW features a lion from Zion on the passenger’s side representing the North while a shark on the South guards the driver’s side. Unification is represented on the hood, meshing the Korean flag with the Yin and Yang badge to signify balance in Korea. Stated Jamaal, “Through my creative vision I wanted to bring equality and unity to Korea.”
Thirroul residents, photographer John Skuja, and visual artist Tanya Stubbles, makers of the One on One: Change slideshow Acacia and Alchemy.
This is a pen and ink (pointalism) drawing, of an old woman of African ancestry, who have seen it all.
D973_063b
18/07/2021 : Arles, boulevard Emile-Combes, Croisière : exposition Etudes en vibration (Reeve Schumacher)
On Monday, December 19th, we partnered with Lenovo computers to build out the ultimate art-themed smackdown. Hosted at Villain in Williamsburg, guests stepped into a fully imagined warehouse art party. That night it was all about participation. We created a series of art activities to get guests making art and meeting each other. Guests captured the revelry of the night in Ventikoland’s projection photo booth. After some savory Espolón cocktails and tacos the art battle was ready to begin. 2 amazing artists competed head-to-head in a series of timed challenges and a head-to-head battle of creative awesomeness. Interludes were provided by a pop & lock round girl, battling breakdancers, and a duo of beatboxers.
Event Design by Adam Aleksander Presents
Photography by Lukas Maverick Greyson
Colleen colored pencils over Bob Ross brand black acrylic Gesso in an A4 plain Molekine Folio as part of the Moleskine Exchange project.
I know this looks staged but it is actually a candid shot of a friend during a short film shoot.
More images: Facebook page.
Watercolor ink on paper
was born Jose Monge Cruz in San Fernando, Cadiz, on 5 December 1950 into a Romani family, his nickname reflected his small size and unusual light skin: Camaron de la Isla — "small white shrimp from the island." Camarón is considered one of the best singers in the history of flamenco, a renovator of singing. Having his mother La Juana as his biggest inspiration, influence and rule model. At the age of eight he began to sing at inns and bus stops.
His debut album, Con la Colaboracion Especial de Paco de Lucia, recorded with the accompaniment of virtuosic legendary guitarist Paco de Lucia 1969, remains one of flamenco's classic recordings.
Although his work was criticized by some traditionalists, he was one of the first to feature an electric bass in his songs. And a sitar! This was a turning point in the history of Flamenco music that helped distinguish Nuevo Flamenco.
instagram loanaibarra
contact ibarraloana@gmail.com
A Glitch "Niqab (κερί) ~ Ètude III”
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
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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 #glitchartisdead #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
There are some people who don’t just belong to your life, they anchor it.
My grandmother was like that. Mexican poblana to the bone, warm as the sun at noon, beautiful and elegant, strong as cliffs in the sea, never afraid always stubborn, a steady as a hand on your shoulder when the ground won’t stop moving.
I grew up in motion. Countries stacking on top of countries, languages changing mid-sentence, schools coming and going like radio stations fading in and out. Two wildly eccentric parents, tuned permanently to their own frequency. It was beautiful and chaotic and confusing, all at once. The kind of childhood where you learn early how to pack fast, light and listen hard.
And through all that noise, there she was. She didn’t chase the chaos. She didn’t try to compete with it. She just stood. Solid. Radiant. Like the sun doesn’t argue with the weather, it just shows up and does its job. The way she looked at me was like the sweetest dream coming true.
When everything else felt temporary, she felt permanent.
When the world felt rented, she felt owned.
She was my best friend when I was small, and somehow, against all odds, she stayed my best friend when I grew up. That’s rare. Most people fall off somewhere between childhood and adulthood, but she crossed that border with me, no passport needed. She wrote me magical letters at least twice a month, letters traveling through the ocean.
She used to tell me,
“En mi corazón no pagas renta.”
In my heart, you don’t pay rent.
That’s not advice, that’s a philosophy. That’s a line you build a life around. It meant: you belong without conditions. You don’t owe explanations. You don’t have to earn your place. You can come and go, fall apart, change your name, change your country, forget your words, your room is still there.
She gave me security without ever calling it that. She fed it to me in food, in looks, in coffees, in culture, storytelling, in silence, in the way she listened like time had slowed down just for us. When everything else felt like it could disappear overnight, she made permanence feel possible. She read the news for me, but also big ones like Juan Rulfo, Góngora, Cervantes, Luis Borges, Angeles Mastretta, the beautiful lines of Garcia Lorca, Octavio Paz, the hysterical humor of Beckett, the deeps of Sor Juana Ines de la Cruz, Carlos Fuentes, Rosario Castellanos, and so on… the list is endless.
She was Home. Not the kind with walls and keys, but the kind that lives in a person. The kind that survives distance. The kind that doesn’t ask you to explain who you’ve become. It happens sometimes that I feel her smell, just like that, suddenly surrounding me, suddenly gone.
Some people are chapters. Some are footnotes. And some—if you’re lucky—are the chorus that keeps coming back, no matter how far the song wanders. She was that chorus. Sun-bright. Unmoving. And still playing, somewhere deep in the static.
Automotive Rhythms latest project combined our passions for automobiles and the arts. AR's 2016 Kia Sorento SXL 2.0T AWD was also the canvas for artist Jamaal Newman’s creation during the ART-of-Motion (AOM) exhibit in Washington, D.C. aka As ABOVE, So BELOW.
Jamaal was one of the featured visual painters of AOM produced and executed by Automotive Rhythms during the 2016 Washington Auto Show. He painted the Sorento live during the Auto Show in just under 13 hours. Inspired by the South Korean origin of Kia Motors and his research on the Korean War, the artist wanted his creation to symbolically unify North and South Korea. As ABOVE, So BELOW features a lion from Zion on the passenger’s side representing the North while a shark on the South guards the driver’s side. Unification is represented on the hood, meshing the Korean flag with the Yin and Yang badge to signify balance in Korea. Stated Jamaal, “Through my creative vision I wanted to bring equality and unity to Korea.”
A Glitch "Niqab (κερί) ~ Ètude VI”
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
~ 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 #glitchartisdead #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
We're proud to be part of Mogo's artist series cards. The Mogo Card is a load up and use credit card to help people control their spending. We've created two illustrations for Mogo. The whole process took over a year because of our work load and timing. The artist series cards are a limited run of only 5000 per card so get yours today.
My interview with Mogo VISA:
blog.mogo.ca/chairman-ting-interview-mogo-card/#.UyQPrWRdViz
March 14 2014
I am one of 10 female artists chosen to display in this show. I have 4 mandalas for sale - the show will be up through August 2011. Live music performed by "The Way to the Egress"
Vinyl spins slow, stories come out sideways and clothing matches the cover. Today we got a group outta Sweden, yeah, cold winds, warm hearts, and melodies that slip through your fingers like smoke from a midnight cigarette. They call themselves Doktor Kosmos.
Now that’s a name that sounds like it could fix your broken bones or maybe just diagnose your soul and send you back out into the rain. Doktor Kosmos sounds like a man in a white coat with ink stains on the pocket, but it’s a band, oh yes, a band that doesn’t just play songs, they kinda confess them. Not in a church way, more like leaning over a sticky bar table at 2 a.m., telling you things you didn’t ask to hear but end up needing anyway.
They’ve been around since the ‘90s, when the world was busy trying to decide if it wanted to dance or disappear. And Doktor Kosmos, they chose to do a little bit of both.
Their music, it’s got that rough edge, like a postcard that never made it through the mail. Guitars that don’t try to impress you, drums that keep time like an old wristwatch, and vocals that feel less like singing and more like… well, talking truth through a half-smile. You listen close, you might hear stories about everyday folks; people who ain’t heroes, ain’t villains, just stuck somewhere in between, trying to make sense of things that don’t line up. There’s humor in there too, but it’s the kind that laughs with one eye open, just in case something goes wrong.
See, Doktor Kosmos, they come from a tradition where saying the wrong thing might just mean you’re saying the realthing. Not always pretty, not always agreeable but honest in a way that makes people shift in their seats. And over the years, they’ve said plenty that would raise eyebrows in today’s Sweden, a place where the lines of what’s acceptable can feel a little tighter than they used to.
Ok don’t get it twisted, they’re not shock artists for the sake of it. They’re more like that friend who says something awkward at dinner and suddenly everyone’s staring at their plate, wondering why it hit so close to home. Their lyrics sometimes wander into territory that’s uncomfortable—relationships that aren’t clean, social norms that don’t hold up under a little pressure, ideas about class, identity, and everyday hypocrisy that don’t come wrapped in neat conclusions. There’s a kind of bluntness there. A refusal to dress things up in language that passes inspection. And yeah, some of those lines—dropped today, in the glow of social media and public scrutiny—might get flagged, clipped, or quietly pushed aside. Not always because they’re hateful, but because they don’t follow the expected script. They poke at contradictions instead of resolving them.
Back when they started out, you could get away with a little more ambiguity, a little more mischief in how you told the truth. These days, the same words might be pulled out of their song, held up under a harsh light, and judged without the music around them; the rhythm, the irony, the context that gives them shape.
But that’s part of their DNA. Doktor Kosmos never sounded like they were asking for permission. They weren’t trying to be role models or villains either. Just observers writing down what they saw, even when it came out sideways or wrong-footed.
And that’s the thing about art that doesn’t behave: it ages in strange ways. What once felt like everyday honesty can start to feel like provocation. What once slipped by unnoticed can suddenly stand out like a crack in the wall.
And the language, Swedish, sure, but you don’t need a dictionary to feel it. Music like that, it travels without a passport. It’s got a kind of stubborn honesty, like it doesn’t care if you understand every word, long as you catch the feeling. And the feeling is, well, it’s human. Messy, contradictory, a little bit bruised.
Now some bands try to build castles out of sound, but Doktor Kosmos, they’re more like setting up a folding chair on the sidewalk and telling you what they saw that day. No filter, no grand illusion. Just life, as it comes.
So if you ever find yourself walking through a quiet street in the early hours, streetlights buzzing like tired thoughts, you might want to put on a little Doktor Kosmos. Let it keep you company. Not to lift you up or drag you down, but just to sit there with you, in that strange, honest space between.
Stay young folks, the needle’s got a long way to go.
Installation shot from the exhibition "Ectopia" @ Rogaland Kunstsenter. Curated by Geir Haraldseth. jan 29 - march 1.
Paolo Gabriele the 46 year old personal butler to Pope Benedict XVI has been arrested and charged with the illegal possession of embarrassing secret documents he had leaked exposing to the world at large corruption from within the Vatican. Gabriele a layman who resides within the Vatican City with his wife and three children, is alleged to have leaked the press with documents that highlight the Vatican finances, operations and concerns with corruption. The scandal known as "Vatileaks", continued to embarrass the Vatican seen as a scandal-plagued tax haven by the world financial community. Speculation continues that Gabriele was not working alone in the leaks, and investigations continue in efforts to identify any leadership from co-offenders potentially in any internal power struggle. Gabriele was being held in a "secure room" at the Vatican's tiny police station inside the Vatican as there is no jail, until further investigation could be conducted in regard to any co-offenders. Pope Benedict XVI's No 2, Cardinal Tarcisio Bertone the Vatican secretary of state has been centre stage of the scandal with many of the leaked documents portraying him negatively, and for having “begged” to retain his position after exposing corrupt practices within the Vatican’s contracts for services. Inspired by The Daily Beast ow.ly/bgy0U image source NY Daily News ow.ly/bgzFG
This pen and ink drawing is about the sad state, of the present situation as it pertains to Native Americans, and faded hope
A Glitch "Prodigiosum Contortion(σύσπαση) ~ Ètude IV”
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
Marketplace on qurable.co : Buy, Shell & Explore Digital Assets
app.qurable.co/c-louis-montiel
~ 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 #nfts #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #nftart #glitchartscollective #glitcharts #nftartist #glitchartwork #glitchartisdead #glitchartists #nftcommunity #nft #glitchartist #pixelsortingart #nftartists #creativecodeart #glitchportrait