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He built a house right in the hiss. Today we celebrate David Lynch. Born under a sky that always looked like it had a secret it wasn’t telling. You don’t watch a David Lynch picture so much as you wander into it, like you took a wrong turn outside of town and the road decided not to forgive you.
Lynch made movies the way some folks make coffee at three in the morning: strong, black, and liable to show you things you weren’t planning on seeing. He understood that his country isn’t just a place, it’s a feeling. A jukebox glowing in the corner. A smile that lasts half a second too long. A lawn so green it starts to look suspicious.
David Lynch knows the dark doesn’t live way out there. It lives right behind the wallpaper. Sometimes it wears a leather jacket, sometimes it’s got lipstick on its teeth. Sometimes it talks backwards, just to make sure you’re paying attention. Lynch listens hard. To the hum of electricity. To the way silence leans in when nobody’s talking. He hears music where other folks just hear noise. That’s why his work feels like a song you don’t remember learning, but somehow know all the words to even the ugly ones.
They say dreams don’t mean anything. Lynch never bought that. He treats dreams like postcards from a town you used to live in, signed by someone you might’ve been. He doesn’t explain them, doesn’t clean them up, doesn’t apologize. He just lets them sit there on the table, smoking. And that’s important, because art isn’t here to tuck you in. It’s here to wake you up at 2 a.m. and ask you who you really are. Lynch gets that. Always did. He’s telling you that the mystery isn’t a problem, it’s the point.
So today, if you find yourself staring at the ceiling, hearing a low rumble like a distant engine, don’t worry. That’s just the frequency David Lynch broadcasts on. You don’t have to understand it. You just have to listen.
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.
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.
Discover the best and most profitable internet arts business ideas, opportunities for visual artists self promotion ideas and creation of successful arts business, entrepreneurship that will change your life, on path to financial freedom.
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.
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16/07/2021 : Arles, rue de la Calade, fondation Manuel Rivera-Ortiz : exposition Les marques (Elsa Leydier/Michel Sedan)
Peter D. Gerakaris Partial Studio View (Winter, 2013). "Garden of Aquatic Delights Accordion Book," (foreground) and "Daphne" paintings (background).
More info at:
ReadArt NY Interview:
readartny.com/in-the-studio-with-peter-d-gerakaris-interv...
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.
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
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
Lee Mingwei the Taiwanese installation artist who undertakes participatory projects where strangers can explore issues of trust, intimacy, and self-awareness. Mingwei in an interview with Kate Deimling for Artinfodotcom, when asked “For ‘The Moving Garden’, which was recently on view at the Brooklyn Museum, you placed real flowers in a 45-foot-long granite table. Visitors were invited to take a flower and give it to a stranger upon leaving the museum. How often did you have to replace the flowers?” Mingwei responded, “The museum had to replenish 150 roses every morning before it opened. By around 3pm, most of the flowers would have been taken and given as gifts between strangers. …the Brooklyn Museum created a Twitter site for participants to post their encounters. One of the most beautiful images is a tiny little girl dressed in a polka-dot dress holding an itty-bitty rose. I am fascinated by these two ideas [chance and randomness] which are quite important in my practice. I often remind myself that if one of my female ancestors didn't go to the market that fateful morning, she would never have met my male ancestor, and thus I would never have existed.”
Peter D. Gerakaris, "Splinternet/La Fantasia Tondo," Oil over polymer on canvas, 96 in. diameter (243.8 cm)
Permanent collection of US Dept of State Art in Embassies Program (Libreville, Gabon)
More info at:
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.
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.
Temporada 2009.
Fotos: Mariana Del Gener.
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
~ 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 #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
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
A Glitch "Niqab (κερί) ~ Ètude X”
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
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.