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CICERO-Foyergespräch mit dem Künstler Markus Lüpertz und den CICERO-Redakteuren Christoph Schwennicke und Alexander Marguier;
Nikon D810, 70-200mm f/2,8
"Flip Not Thine Wig" (site-specific sculpture)
Year: 2006
Materials: glass, wood, mirror tile, electric motor, electric lights, glitter flake, acrylic
Dimensions: 72 x 26 x 38 inches
Information: “Flip Not Thine Wig” was my sculptural response to my chosen launch site for Super Troopers, the offsite project for National Psyche: Feminine Vision, Thought, and Action during Wartime. Glama Rama Hair Salon located in the Mission District, San Francisco provided a delicious backdrop to deliver a project inspired by Glam culture and the outrageous kitsch of Liberace. I completely customized a department store display case with ½ inch mirrored tile, fitting the interior with dimming lights and motorized fans that that would generated a frenetic glitter-storm for visitors to delight in. During operating hours, art lovers, salon clients, and passersby would co-mingle around an outdoor pneumatic sculpture that playfully addressed the over-the-top aesthetic of Hollywood glitz and glamour.
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
D843_014
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
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.
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.
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.
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.
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.
Jenny & the Mexicats Lunario 03
Jenny and the mexicats
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens 18 – 55mm y 55 – 300mm
2013
Y cuando se decide a entrar a un bar, perfumes, Buenos Aires, volarán, no te imaginas la que se va a armar bajo su falda. ...
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.
Peter D. Gerakaris, "Installation View: Terrarium Tondo Series I-V," Oil on canvas over multiple panels.
On permanent exhibition at US Embassy in Libreville, Gabon. Permanent Collection of the US Department of State Art in Embassies Program (AIE)
More info at:
Today we celebrate fire. Not the kind you strike with a match, not the kind that warms your hands on a cold night, but the kind that walks into a room before you do and leaves scorch marks on the walls. And in Spain, they had a name for that kind of fire. They called it Lola Flores.
They used to say she couldn’t sing, couldn’t dance but nobody ever said she couldn’t burn. Because when Lola Flores stepped onto a stage, something happened to the air. The laws of physics took the night off. Gravity loosened its grip. Time leaned back in its chair and lit a cigarette.
Lola Flores came from Jerez de la Frontera, a place soaked in wine and dust and old songs that don’t belong to anyone anymore. Songs that pass from mouth to mouth like secrets. Flamenco songs don’t ask permission. They don’t knock. They come in through the window.
Lola didn’t interpret flamenco. She argued with it. She wrestled it to the ground and let it get back up just to do it again. They called her La Faraona, the Pharaoh, which tells you something. Pharaohs don’t audition. Pharaohs don’t explain themselves. They rule by presence alone. You don’t have to understand them, you just have to feel smaller in the room. She made movies where the plot didn’t matter. She sang songs where the notes weren’t the point. It was all about the moment when her heel hit the floor and the world snapped into focus.
There’s an old saying: “Lola Flores no sabe cantar, pero no se la pierdan.” That means -Lola Flores doesn’t know how to sing, but don’t miss her.
That’s a line that could apply to a lot of people who changed music. Plenty of singers had perfect voices and left no fingerprints behind. Others had cracks, dust, and blood in their sound and that’s where the truth leaked through. Lola sang the way storms sing. Off-key, unstoppable, necessary. She lived loud, loved loud, fought loud. She carried joy and tragedy in the same suitcase and never bothered to separate them. When she laughed, it sounded like defiance. When she cried, it sounded like a warning. And when she died, Spain didn’t just lose a performer. It lost a temperature.
(in other medium) m.youtube.com/watch?v=-NDjcixfEAA
So today, if you hear a rhythm that makes your foot tap without asking your brain for permission… If you hear a voice that doesn’t care whether it’s beautiful, only whether it’s real… That might be Lola Flores passing through the waves, cause fire doesn’t disappear, it just changes shape.
ink, watercolor on paper
contact ibarraloana@gmail.com