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Reflections.
I don’t mean the kind in the bathroom mirror, where you brush your teeth and wonder who stole your youth. I’m talking about the kind that look back at you. The kind that make you feel like you’ve been caught in the act of living. Or not living, depending on the day.
See, a painted self-portrait, it don’t just capture what you looked like. It captures what you were trying not to show. And when it’s you looking at you? That’s like playing chess with a ghost who already knows your next move.
I guess that painters make self-portraits for the same reason we look into mirrors a little too long sometimes, not just to see ourselves, but to understand what the seeing means; a conversation with the self, a freeze-frame of identity, a gesture of control in a world that keeps misreading you.
Artists make self-portraits to explore their identity, how they see themselves, how they want to be seen, or sometimes how they fear they’re seen. It’s not always honest, but it’s always telling. A self-portrait doesn’t just say "This is me," it says "This is me, right now, in this moment, and maybe I won’t be this tomorrow."
Long before selfies, self-portraits were legacy. If no one painted you, you might as well have never existed. Painting yourself was a way to stake your place in history, a quiet rebellion against being forgotten.
But here is the tricky part: A self-portrait isn’t always a mirror. Sometimes it’s a map. Sometimes it’s a question. Sometimes it’s a mask that slipped off by accident. And once in a while… It looks back at you, and you don’t recognize the person at all.
That’s when it’s working.
//stay watching. Your always revealing Loana Ibarra.
contact ibarraloana@gmail.com
A Glitch "Ushás ( θεά του πόθου ) ~ 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 #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
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08/04/2017 : Le Puy-Sainte-Réparade, Château La Coste : exposition Mountains and Seas (Ai Weiwei)
The Big "Bang Deng" Theory
Obra: En Casa/ En Kabul.
Autor: Tony Kushner.
Dirección: Carlos Gandolfo.
Labor: Diseño de Escenografía. (Junto a Carlos Gandolfo y Florencia Del Gener)
Diseño de Vestuario. (Junto a Florencia Del Gener).
Teatro: Complejo Teatral de Buenos Aires Teatro San Martín.
Sala Casacuberta
Temporada: 2004.
Fotos: Mariana Del Gener.
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
You know, some people spend their whole lives trying to fit into the States, and some people spend their whole lives standing on the sidewalk describing it. Allen Ginsberg was one of those sidewalk people.
Born in New Jersey, which has produced more poets than most people realize and more highways than anybody needs, Ginsberg came into the world carrying two suitcases: one full of books and one full of questions. The books belonged to his father. The questions belonged to everybody else.
He wandered across the country looking for answers and mostly found other questions. That's how it goes. Sometimes you go looking for the truth and end up finding a saxophone player, a runaway, a saint, and a lunatic sitting at the same diner counter at three in the morning. Then you've got a poem.
Ginsberg listened to the U.S.A. the way some people listen to a train that's just barely coming in. He heard the static. He heard the sermons. He heard the traffic and police sirens and jazz records spinning in apartments where the rent was overdue. He heard people talking to themselves because nobody else would listen.
A lot of folks knew him as a Beat poet. But "beat" is one of those words that can mean tired, defeated, rhythmic, or blessed, depending on who's saying it and what time of night it is. Ginsberg seemed interested in all four meanings. He believed poetry ought to be alive enough to breathe. That's why his lines stretch out like highways across Nebraska. They don't stop where they're supposed to stop. They stop when they run out of road. He made some people angry. That's almost unavoidable if you're paying attention. I guess every country has always had a complicated relationship with its prophets. First it ignores them, then it argues with them, then it puts them in textbooks.
What I always liked about Ginsberg was that he wasn't afraid to sound amazed. That's a rare thing. Cynicism is cheap. Wonder costs more. He could look at a crowded city street and find something holy in it, or look at something holy and find something human. He traveled far enough to know that everybody's carrying something invisible. Some carry grief. Some carry dreams. Some carry grocery bags.
Most carry all three.
—-
Father Death Blues
Hey Father Death, I'm flying home
Hey poor man, you're all alone
Hey old daddy, I know where I'm going
Father Death, Don't cry any more
Mama's there, underneath the floor
Brother Death, please mind the store
Old Aunty Death Don't hide your bones
Old Uncle Death I hear your groans
O Sister Death how sweet your moans
O Children Deaths go breathe your breaths
Sobbing breasts'll ease your Deaths
Pain is gone, tears take the rest
Genius Death your art is done
Lover Death your body's gone
Father Death I'm coming home
Guru Death your words are true
Teacher Death I do thank you
For inspiring me to sing this Blues
Buddha Death, I wake with you
Dharma Death, your mind is new
Sangha Death, we'll work it through
Suffering is what was born
Ignorance made me forlorn
Tearful truths I cannot scorn
Father Breath once more farewell
Birth you gave was no thing ill
My heart is still, as time will tell.
//1976, A. Ginsberg
ink, watercolor on paper
contact ibarraloana@gmail.com
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
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
CICERO-Foyergespräch mit dem Künstler Markus Lüpertz und den CICERO-Redakteuren Christoph Schwennicke und Alexander Marguier;
Nikon D810, 70-200mm f/2,8
CICERO-Foyergespräch mit dem Künstler Markus Lüpertz und den CICERO-Redakteuren Christoph Schwennicke und Alexander Marguier;
Nikon D810, 70-200mm f/2,8
It’s an hour in the southern mexican jungle, morning, afternoon, noon. Somewhere between a rebel dream and a cigarette’s last ember.
Today we are celebrating an outlaws with six-shooters or poets with publishing deals. We’re talkin’ ‘bout a man with a ski mask, a pipe, and a pen. They call him Subcomandante Marcos
Now, Sub Marcos didn’t ride into town on a Ferrari or a white horse. No, he came through the Chiapas mountains, on foot, with a rifle slung over his shoulder and a book of philosophy in his pack.
The year was 1994, while the rest of the world was trading in Napster files and dreaming digital, Sub Marcos and the Zapatistas were launching an uprising for the invisible. The Indigenous people of Mexico, the forgotten, the ones who history skips over like a bad record.
He wore a balaclava so tight, even the moon didn’t know his face. They said he smoked a pipe not for the style, but for the symbol. Some said he was a poet, a professor. Some said he wasn’t even real, more of an idea than a human.
But ideas are dangerous things, especially when they talk back.
He typed manifestos in the night, love letters to rebellion, riddled with irony, thick with rage. He spoke not just of war, but dignity. Not just of bullets, but books. And while politicians fumbled with microphones, Marcos told stories. Fables. Myths.
He said, “Marcos is gay in San Francisco, Black in South Africa, an anarchist in Spain, a Palestinian in Israel... a Mayan Indian in the mountains of southeastern Mexico.”
Ain’t that somethin’? One man wearing the masks of the world.
They called him Subcomandante because, as he said, the people were the real commanders. Humble, maybe. Or just clever enough to dodge the spotlight.
Now, he’s not around much these days. He “stepped down,” or maybe “stepped aside” is better. Said Marcos was just a character. Said the story needed to move on. Said, “We, those who are nobody, will turn ourselves into everybody.”
Like I said; part prophet, part prankster.
So light up that pipe, pour yourself a glass of mezcal, and remember: not all revolutions are televised. Some ride in on the back of a wind-whipped story, with a typewriter for a sword.
Stay free.
ink, watercolor on paper
contact ibarraloana@gmail.com
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
With lyrics that are unabashedly risqué, provocative, and laced with biting sarcasm, wrapped in music that is simultaneously playful and exquisitely melodic, Brian Eno's second solo album, “Taking Tiger Mountain (By Strategy)”, released in November 1974, refuses to submit to the convenience of labels. Art rock, glam rock, experimental rock, art pop, avant-garde, surrealism, conceptual pop—every category captures a fragment while missing the whole. The album exists in the fertile space where irony dismantles convention and melody disguises subversion.
Its magistral cover offers the first clue. Photographed by Eno's then-partner Sarah Greaves, the image presents him in military attire, suspended somewhere between historical fiction and absurdist theatre. The title itself comes from a revolutionary Chinese opera celebrating the Communist capture of Tiger Mountain during the Chinese Civil War. Eno was captivated not by ideology, but by the poetry of the phrase "Taking Tiger Mountain (By Strategy)." He transforms military strategy into artistic strategy, replacing propaganda with ambiguity and certainty with imagination. The cover is not an illustration of the music but an invitation into its labyrinth, a place where myth, performance, history, and parody dissolve into one another.
Long before ambient music became synonymous with his name, and before he became one of the most influential producers in “contemporary” music, Eno was dismantling the expectations of what a rock record could be. “Taking Tiger Mountain (By Strategy)” is not an album that seeks approval through coherence; it celebrates contradiction as a creative principle. The sixth track, “Third Uncle”, is the ultimate example.
More than fifty years later, the album remains startlingly modern because it refuses to explain itself. It simply invites the listener to enter its strange world and rewards anyone willing to get lost inside it.
On Thursday 30th June, dot-art ran it's first Introduction to Life Drawing day, led by Roy Munday in Liverpool City Centre. Life model Arthur posed for participants, who were taught the basic skills required, and given individual tuition and feedback.
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.
Yoshihiro Francis Fukuyama the 60 year old American political scientist and economist is the subject of an article published by Dan Hind on Aljazeera titled ‘Just how do you change the world? Is there a progressive counter-narrative to the libertarian right?’ Hind states “Francis Fukuyama wrote an article for Foreign Affairs entitled The Future of History. In it he talked about the absence of "a plausible progressive counter-narrative" to the "libertarian right". This libertarian right has "held the ideological high ground on economic issues" for a generation. …Fukuyama claims that "one of the most puzzling features of the world in the aftermath of the financial crisis is that populism has taken primarily a right-wing form, not a left-wing one". So while he thinks it conceivable that the "Occupy Wall Street movement will gain traction", he can't find space for the hundreds of other occupations in the United States and worldwide. The role of trade unionists and socialists in Arab Spring is nowhere to be found and the vast movement for real democracy in Spain likewise vanishes. The Tea Party is what captures Fukuyama's attention. …It would be unfair to mock him for his failure to predict the rise of Syriza in Greece, the defeat of a right-wing president in France and the growing confidence of anti-capitalist left in Europe and North America. It is, though, reasonable to expect a prophet to have some kind of grip on the recent past.” Inspired by Dan Hind ow.ly/bWbVf image source Robert Goddyn ow.ly/bWbQb
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
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
Today the needle’s dropping on a guitar player who never needed to shout his name to make the walls shake. Robbie Krieger. Yeah, today we celebrate that Robbie Krieger. From The Doors.
Krieger’s one of those fellas who slips in sideways. You don’t see him coming, but suddenly the room’s on fire and you’re wondering who struck the match. Didn’t play like the bluesmen from Chicago exactly, didn’t play like the rock guys from London either. He played like someone who’d been reading poetry in one hand and holding a flamenco record in the other, wondering what would happen if they met in a dark alley. Robbie Krieger was 19 years old when he joined The Doors.
You listen to a song like “Light My Fire”, which, by the way, he wrote, and you think it’s about heat, about desire, about the old spark jumping the wire. But Krieger’s guitar doesn’t rush it. It circles. It waits. Like it knows the fire’s gonna burn whether you hurry it or not. That solo just keeps climbing, like a snake up a telephone pole, until you’re too high up to remember how you got there. And he didn’t hide behind a pick. Used his fingers. Bare skin on steel. That tells you something right there. That’s trust. That’s a guy willing to get burned by his own sound. Blues, jazz, Spanish scales, a little dust from the desert, all of it drifting through those strings. You hear “Spanish Caravan,” and suddenly you’re not in California anymore. You’re somewhere older. Somewhere the sun’s been watching people make the same mistakes for a few thousand years. Not to mention that beauty “Blue Sunday”, that slide coming from Krieger is along with jazz influences is memory provoking.
Now, when Jim Morrison was out front wrestling angels and demons and microphones, Robbie Krieger was off to the side, half-smiling, half-vanishing. Like he knew the song was bigger than the singer. Bigger than the band, even. That’s a dangerous kind of knowledge. That’s the kind that lets you play exactly what’s needed and not one note more. Robbie Krieger’s guitar didn’t preach. It suggested. It opened doors and left them open, didn’t tell you whether to walk through. And those are the ones that stay with you. Long after the music fades out. Long after the fire burns down to ash.
So here’s to Robbie Krieger, the quiet rider, string-bender, keeper of the sideways flame.
ink, watercolor on paper
contact ibarraloana@gmail.com
Peter D. Gerakaris, Terrarium Tondo II, 16 in. diameter,
Oil on canvas over panel, 2011, Art In Embassies Permanent Collection (Libreville, Gabon)
More info at:
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Fotos: Mariana Del Gener.
FB: michelle.robinson/pg/michelle.robinson.images.and.art
IG: @simply.mich.robinson / @mich/robinson
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.
Obra: La Ultima Cena.
Autor: Dan Rosen.
Dirección: Sebastián Blanco Leiss.
Labor: Diseño de Escenografía y Vestuario.
(Junto a Florencia Del Gener).
Teatro: Diagonal. Mar del Plata.
Ganador Premio Estrella de Mar 2009: Mejor obra del Circuito Off.
Teatro: ElKafka Espacio Teatral. Buenos Aires.
Temporada 2009.
Fotos: Mariana Del Gener.