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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
Hypnotic Wobble - Describe yourself in three words. 🐔 🐍 🐹 #ozwyz #generativeart #cool #abstracto #inspirationalart #glitchart #kaleidoscope #worldofartists #visualartist #weird #intense #biartist #sparkling #newart #hallucination #glitchy #digitaldesign #weirdart #procreate #handmade #visualart #generative #speckled #digitalart #dynamicart #artwatchers #hotart #saphic instagr.am/p/CPBudaYHFm5/
This shot was taken close to the location of the previous shot. Again, this is a 3-exposure HDR, handheld.
More images: Facebook page.
A charity project through Bridge Communities; 'A Chair Affair' was an event where artists were sponsored to create a work of art using chairs as the vehicle, which were then showcased in retail shops in the Western Suburbs of Chicago. These works then went up to auction where 100% of the proceeds went to families and individuals in need. Bridge Communities strives to help those in need and aim to help people get their lives back on track. This was my second 'A Chair Affair', my first one taking place in Naperville in 2014.
Masks. Not the kind you wear to the masquerade ball, not the kind you pull over your eyes to rob a bank, no, these are the ones you’re born into and spend your whole life trying to peel off. And that brings us to celebrate the finest writer in the game, the one who knew a thing or two about masks, and much more. Yukio Mishima.
Mishima was born Hiraoka Kimitake in Tokyo in 1925, a time when the world was already sharpening its knives. He grew up sickly, bookish, raised in the shadow of a grandmother who kept him close to the floor and far from the sun. But inside that fragile frame was a mind running marathons. He wrote like a man possessed -novels, plays, essays- words stacking up like dominoes, one thought knocking the next into place.
Mishima wrote about beauty the way some folks write about doom. He saw beauty as something dangerous, something that burns hot and fast, like a match struck in a dark room. In Confessions of a Mask, he tells you right up front that life is a performance, and he’s been playing a role since the curtain went up. Desire, identity, death, they’re all tangled together like headphone wires in your pocket. One of the things that makes Mishima a master in writing is the way he accomplish to write about beauty and death at the same time. Mishima didn’t write about death like it was the end of the line. He wrote about it like it was a spotlight. For him, death didn’t erase beauty it completed it. You see, Mishima believed beauty was fragile. Too fragile to survive time. If something beautiful lingered too long, it risked becoming ordinary, and ordinary was the one thing he couldn’t forgive. A cherry blossom isn’t beautiful despite the fact that it falls it’s beautiful because it falls. Stick around too long and you’re just another leaf on the ground. In his writing, death is always nearby, leaning against the doorframe, checking its watch. Young men with perfect bodies. Women frozen in moments of unbearable grace. Ideals so pure they can’t survive the morning. Mishima lets you admire them, but he never lets you relax. You know something’s coming. You can feel the blade before it appears. He wrote sentences the way a swordsman makes cuts -clean, deliberate, no wasted motion. And every so often, right in the middle of something lovely, he reminds you that beauty’s twin is destruction. Not because he was cruel, but because he thought beauty without risk was just decoration. For Mishima, death was a way of sealing beauty in amber. A way of saying, this mattered enough to end for. That’s a dangerous idea. It can lead you to dark places. But it’s also why his work hums with intensity. Every page feels like it knows it won’t live forever. He said things like “True beauty is something that attacks, overpowers, robs, and finally destroys" and "Beauty is something that burns the hand when you touch it”. That’s painful, absolute experience beyond mere aesthetics, emphasizing ideals of fleeting perfection and heroic death.
After the war, when Japan traded its sword for a suit and tie, Mishima went the other way. He built his body like a temple, or maybe like a weapon. Lifted weights. Practiced kendo. Started a private militia. That’s right—while everyone else was buying TVs, Mishima was polishing armor. He believed the soul needed a strong house to live in, and he wasn’t interested in drywall.
And then there’s the ending. Mishima didn’t fade out, he went out in a cymbal crash. November 25, 1970. A military base. A speech nobody listened to. And then ritual suicide, straight out of another century. You don’t have to agree with it. You don’t even have to understand it. But you can’t say he didn’t mean it. The man turned his life into a final sentence and put a period at the end. Some people live their lives like a rough draft. Mishima lived his like it was already carved in stone.
So today, think about the masks you wear. The ones that protect you. The ones that hide you. And the ones that might, someday, tell the truth about who you really are.
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.
There are composers, and then there are people who hear the world humming underneath the floorboards. Gustavo Santaolalla is one of those people.
Santaolalla came out of Argentina with a guitar, a pair of ears, and apparently no intention of respecting the border between rock music and the movies. He played in bands, helped shape Argentine rock, wandered through different musical worlds, and eventually found himself writing music for films and television—where a few notes can sometimes say more than a thousand people standing around explaining the plot. And Santaolalla knows about a few notes. Give him a guitar, especially one that sounds like it has survived a long night somewhere south of nowhere, and he can make it speak in that ancient language guitars have always spoken: loneliness, dust, memory, departure.
His music has appeared in films like Brokeback Mountain, Babel and my absolute favorites in the game Biutiful and Amores Perros. Santaolalla won Academy Awards for the first two mentioned. But awards are funny things. They sit on shelves. Music doesn't. Music gets into the walls.
Listen to the score for Amores Perros + Atacama. There's no parade marching behind it. No orchestra trying to convince you that something Important Is Happening. There's space. There's the guitar. There's the silence between the notes. And suddenly the streets of Mexico aren't scenery anymore. They're witnesses. That's one of Santaolalla's gifts: he understands that a landscape can have a voice.
Argentina taught him one vocabulary. Rock 'n' roll taught him another. Film taught him how to leave things unsaid. And somewhere along the way, Santaolalla became a kind of musical traveler—carrying fragments of South American folk music, rock, tango, electronic sounds, acoustic guitars, and cinematic melancholy from one place to another.
Maybe that's what a composer really is. Not a man sitting in a room telling the orchestra what to do. Maybe he's the fellow at the bus station who knows that every town has a different kind of silence. And every silence needs a song.
So today, somewhere between Buenos Aires and wherever you are standing, between the old guitar and the silver screen, Gustavo Santaolalla is still listening. And if you hear a few lonely notes drifting through the darkness well, don't ask where they're going. Just follow them.
ink, watercolor on marbled 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
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.
Cock Park Restaurant Branding Design By #Akib_Sarder
This Project On:
#Behance: www.behance.net/gallery/57864131/Cock-Part-Restaurant-Bra...?
#Facebook: www.facebook.com/media/set/?set=a.298861310585256.1073741...
#Google+ : plus.google.com/u/0/104110449329655898745/posts/EaAjEtDMN5V
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
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
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 "Sosies (σόσια) ~ 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
~ 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
CICERO-Foyergespräch mit dem Künstler Markus Lüpertz und den CICERO-Redakteuren Christoph Schwennicke und Alexander Marguier;
Nikon D810, 70-200mm f/2,8
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
A Glitch "Burqa 2.0(برقع) ~ Ètude II“
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
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #datamoshing #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #pixelsortingeffect
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
Cosmic revelations. Flight. Not the kind with peanuts and tray tables. I’m more about the kind where your soul leaves the ground and don’t ever look back. Take over the world!
And that brings me to a trumpet player from Chicago by way of Brooklyn a firestarter named Jaimie Branch.
Yeah, that’s right. Jaimie with an "ie." She wasn’t trying to be clever, she just was. A firebrand with copper lungs and a bell made of thunder. You might not find her on your dad’s jazz records — not yet — but put your ear to the rail, and you’ll hear her coming.
At first Branch studied piano but switched to trumpet and became excited with jazz’s improvisational possibilities. She played like she was building a new language, one phrase at a time, one scream, one whisper. Her horn didn’t just play music. It testified.
She called one of her records "Fly or Die." And yes, she meant it. Now that/those records is without doubt places you’ll never be able to find elsewhere. Take that one track Baba Louie or that other one Take Over the World. Oh me oh my. She flew. High. Loud. Furious. She made music for the folks in the back of the room, the ones who don’t clap unless it hurts a little. A fearless musician never afraid to enter the unknown. Jaimie wasn’t just blowing notes — she was conjuring storms. Political, personal, celestial. She’d throw down with a band like they were sparring partners, and her sound, oh yeeh, her sound had teeth. But there was joy in it too. Dirty, ragged joy. Like a busted trumpet found in a pawn shop that still remembered how to pray.
Jaimie Branch left this world too soon, a pity I never had the chance to see her live, at the age of 39 in 2022 from an accidental drug overdose. But I guess that’s the thing about flight, it don’t need to last forever to be eternal.
So here’s to Jaimie Branch —Trumpeter, composer, singer, conjurer. One hell of a flame that didn't just take the stage she took off.
You can still hear her flying.
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.
“urge to sad whimpering to understand in a thousand kaleidoscopic possibilities with the feeling of homelessness” -Bruno Schulz
There are artists who build cathedrals out of marble, and there are artists who build them out of dust. The dust usually lasts longer. Somewhere in a provincial town where the clocks seemed embarrassed to announce the hour, there lived a schoolteacher who understood that the shortest distance between memory and myth was not a straight line but a spiral. That’s Bruno Schulz.
Bruno Schulz spent his days teaching schoolchildren, but after hours he seemed to report to another employer entirely. Call it imagination, call it mythology, call it insomnia with excellent penmanship. Whatever the payroll looked like, it paid him in visions rather than certainty.
His stories don't describe the world so much as persuade it to reveal a second skin. Tailor shops become temples. Closets conceal entire climates. Ordinary conversations drift into scripture before anyone notices. Reading him is like discovering that your own childhood had a secret biography it never bothered to show you. He wrote as though furniture had secret ambitions. Wardrobes dreamed of becoming forests. Fathers molted into birds, insects, prophets, or all three before breakfast. Reality was never dismissed; it was merely persuaded to remove its overcoat. His paintings and murals followed the same law. Figures emerged from walls as if the plaster itself had remembered them. Color was never decoration but sediment, the residue left behind after dreams evaporated. Every brushstroke suggested that civilization was only a thin coat of varnish spread over older ceremonies.
Then there were the drawings. Delicate, obsessive, impossible to mistake for anyone else's. Women towered with theatrical confidence while men shrank into willing attendants, pilgrims kneeling before impossible altars. Boots gleamed like religious relics. Gloves, corsets, mirrors, polished floors—all the ordinary props of domestic life quietly enlisted into rituals of power and surrender. They unsettled polite audiences not because they shouted, but because they whispered with complete conviction. Desire was not hidden beneath symbolism; symbolism itself became desire.
It's tempting to pin labels on such images, to file them under psychology, biography, pathology, or scandal. But labels are the taxidermy of criticism. Once you've named the animal, you stop watching it move. These drawings refuse that convenience. They're theatrical, intimate, humorous, and faintly ridiculous all at once, reminding us that power often dresses itself in costume before entering the room.
His visual art never illustrated his stories, nor did the stories explain the drawings. They circled one another like twin moons sharing the same gravity without ever colliding. Ink borrowed from dreams; language borrowed from charcoal. One hand remembered what the other had forgotten. He seemed suspicious of the modern appetite for novelty. Every fashionable revolution promises a brand-new world, shrink-wrapped and ready for display. Yet the truly enduring image is usually old enough to have gathered dust before anyone noticed its value. Culture has a habit of confusing the latest with the lasting, mistaking market excitement for revelation. But genuine imagination isn't manufactured on an assembly line or unveiled beneath gallery lighting with complimentary wine. It arrives quietly, carrying yesterday's myths inside tomorrow's suitcase. Even now, the surviving works feel less like relics than dispatches from a neighboring country whose borders only appear after midnight. They ask whether memory invents reality or reality merely imitates memory. They refuse to answer, preferring to let the question wander through empty streets beneath flickering lamps.
Some artists leave behind masterpieces. Others leave behind weather. Bruno Schulz’ work still changes the atmosphere whenever you enter it. You don't simply look at those drawings or read those pages. Before long, they're looking back at you, measuring your certainty, wondering how much of your ordinary life is merely another elaborate costume waiting for the lights to dim.
ink, watercolor on paper
contact ibarraloana@gmail.com