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Ingmar Bergman understood something that most people spend a lifetime trying to avoid: silence isn't empty. It talks. Sometimes louder than dialogue ever could. Watch one of his films long enough and you begin to notice that people aren't merely speaking to each other. They're negotiating with memory, bargaining with guilt, wrestling with God, inventing excuses for loneliness. The camera waits. It doesn't rush in to rescue anyone. It has too much respect for discomfort. That's a rare thing.
We often celebrate artists by polishing them into monuments. Once someone enters the cultural pantheon, the rough edges become academic footnotes and the contradictions are filed under "complexity." It's a tidy arrangement. Easier to admire the statue than to meet the person who cast it.
Bergman wasn't interested in tidy arrangements. His films are crowded with people who fail one another spectacularly while convincing themselves they're searching for truth. Priests who doubt. Lovers who wound. Families who inherit emotional weather systems that no one remembers creating. It's remarkable how often his characters stand inches apart while inhabiting entirely different universes. Maybe that's why the films still breathe. They refuse to flatter us.
There is something almost archaeological about watching them now. Every scene digs beneath another layer of certainty. Peel away respectability and anxiety appears. Peel away certainty and fear is waiting. Peel away fear and, occasionally, there's tenderness—fragile enough that you almost miss it.
It's curious how often audiences remember the anguish and forget the humor. Bergman could be very funny, though not in the way that announces itself. His comedy lives in human absurdity: the impossible conversations, the oversized egos, the elaborate rituals people invent to avoid saying the one sentence that matters. Life has a talent for writing tragic scenes with comic timing. Perhaps that's why these films resist becoming museum pieces. They ask questions that refuse retirement. What do we owe each other? Can love survive honesty? Is faith possible without certainty? Is identity something we possess or merely perform until someone looks too closely? Those aren't period questions. They're Tuesday afternoon questions.
The temptation is to treat Bergman as a sacred figure whose work belongs behind velvet ropes, admired from a respectful distance. But art isn't preserved by reverence alone. It survives through argument, disagreement, rediscovery, and the occasional realization that the masterpiece everyone praised for one reason may endure for entirely another. The longer you live, the less these films seem to be about Sweden, religion, or cinema. They become studies of ordinary human weather. Clouds passing over a face. A hesitation before speaking. A silence that says more than a page of dialogue.
Maybe that's the real trick. Great artists don't answer the big questions. They simply make it impossible to pretend the questions were never there.
ink, watercolor on paper
contact ibarraloana@gmail.com
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
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.
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. ...
Painting by Terry David Silvercloud, layered acrylics on canvas, 24 x 24 inches, signed au verso. Vancouver Visual Artist.
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.
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:
You know, dearest, there are records that arrive like a parade. They announce themselves with brass bands and confetti. Then there are records that sneak in through the kitchen window while you're making coffee after a three hour Spanish-Swedish Swedish- Spanish interpretation session, sits down at the table without introducing themselves, and before long they've rearranged the furniture in your mind.
That's Chomp.
Now, Athens, Georgia, has always been one of those places where strange flowers bloom through cracks in the pavement. Maybe it's the humidity. Maybe it's the ghosts of old radio towers bouncing signals into people's dreams. Whatever it is, bands from that town don't so much chase the future as accidentally trip over it.
Pylon sounds like they found rock and roll after everyone else had already explained it to death. Instead of adding more words, they started taking them away.
Vanessa Briscoe Hay doesn't sing like she's trying to convince you of anything. She sounds like someone who's already seen the ending and isn't particularly worried whether you catch up. Her voice circles around the beat instead of sitting on it. Sometimes she sounds like she's reading tomorrow's headlines to someone living yesterday. And the band, well, they're a machine that remembers it's made by human hands. The guitars don't bloom; they jab. The bass doesn't walk; it stalks. The drums don't swing; they insist. Every instrument seems to know exactly what not to play. That's a rare wisdom. Anybody can fill a room with sound. It takes discipline to leave enough empty space for mystery to move in.
Listening to Chomp is like watching a traffic light in the morning. Nothing's happening, and yet everything feels charged with possibility. The grooves repeat until repetition stops sounding repetitive and starts sounding inevitable, like breathing or railroad tracks disappearing into the horizon.
What's funny is that people called this music "new wave," as if it belonged to tomorrow. But records like this don't really live in time. They drift in and out of fashion like weather. Every generation discovers Chomp and thinks they've uncovered a secret message left just for them. Maybe they have.
The songs don't ask for your admiration. They ask for your attention. That's a different currency. Decades later, you can hear echoes of Pylon in bands that became famous enough to fill arenas, but Pylon themselves remain wonderfully unbothered by history. They made their records, left them standing in the field like telephone poles, and let everyone else decide whether to string wires between them. There's an old idea that rock and roll should either save your soul or shake your hips. Chomp quietly suggests those might be the same thing.
Some albums age into nostalgia. This one ages into prophecy. Every time you come back to it, it sounds less like a relic from 1983 and more like a dispatch from some parallel America where punk learned patience, funk learned restraint, and art school graduates remembered that dancing was a perfectly respectable form of thinking. That's the thing about pylons. Most people never notice them. They just carry the current from one place to another. And every now and then, if you stop beneath one and listen closely, you can hear the electricity singing.
I recommend starting with the track M-Train wishing you a very blessed voyage.
CICERO-Foyergespräch mit dem Künstler Markus Lüpertz und den CICERO-Redakteuren Christoph Schwennicke und Alexander Marguier;
Nikon D810, 70-200mm f/2,8
This 2012 artwork is by Mexican visual artist Carlos Amorales and is called "We will see how everything reverberates". It was photographed during an exhibition at the Turner Contemporary gallery, Margate, England (March until September 2015).
Today we high jump celar a rebel, a rule-breaker, you know people who kicked open doors and didn’t ask permission. Joan Jett.
Joan Jett wasn’t ever trying to be a sweetheart. She was more like a switchblade. Born in Pennsylvania, raised in California, but her voice always sounded like it came out of Detroit. Hard. Loud. No apologies.
She got her first guitar at thirteen.
When most kids were trying to figure out one thing and another she was learning how to play power chords. And before long, she’s in the Runaways. All-girl teenage rock band in the mid-70s. Yeah, you heard me right. They didn’t want to be cute. They wanted to be loud. And they were.
Now you’d think someone like Jett, with all that style and sound, would’ve had record labels knocking down her door. But that’s not how it went.
After the Runaways split, she tried to go solo. Took her demo around twenty-three labels and all turned her down. Twenty-three. That’s more rejection than a blind date with a philosophy major.
But Jett didn’t stop. Hell no. She said, ‘If the doors won’t open, I’ll build my own damn house.’ And she did. Started Blackheart Records with her longtime producer Kenny Laguna. The first woman to do so. Out of the trunk of a car. Punk rock meets DIY. And that’s how legends are made.
Then came ‘I Love Rock ’n’ Roll.’ You know the one. Everybody’s sung it at a bar past midnight with their arm around a stranger. Number one for seven weeks. Not bad for a song nobody wanted to release.
Joan Jett had that look, still has, leather jacket, eyeliner, sneer that could melt asphalt.
But it wasn’t an act. It was armor.
She fought for every inch.
Rock radio didn’t know what to do with her.
Too punk for pop, too pop for punk, too female for either, if you asked the old guard.
But she kept going. ‘Bad Reputation,’ ‘Do You Wanna Touch Me,’ ‘Crimson and Clover.’ She covered songs, rewired them, and made them hers. She didn’t just play rock 'n' roll, she stared it down, dared it to flinch. Joan Jett didn’t knock on the door of rock 'n' roll. She kicked it in and rewrote the lease.
And all those labels that said ‘no’? Well, they’re probably still regretting that while their interns play her records in the break room.
watercolor, ink 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.
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
"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.
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.
Andrew J. Bacevich the 65 year old American Professor of International Relations and retired career officer in the US Army has published an article in the LA Times titled ‘Divorcing Pakistan’ which contends the interests of Washington and Islamabad do not align, and neither do their preferred forms of paranoia. Bacevich states “The history of U.S.-Pakistani relations is one of wild swings between feigned friendship and ill-disguised mistrust. When the United States needs Pakistan, Washington showers Islamabad with money, weapons and expressions of high esteem. Once the need wanes, the gratuities cease, often with brutal abruptness. Instead of largesse, Pakistan gets lectures, with the instruction seldom well received. …But seldom has a marriage of convenience produced greater inconvenience and consternation for the parties involved. Simply put, U.S. and Pakistani interests do not align. Worse, neither do our preferred forms of paranoia. Pakistanis don't worry about Islamists taking over the world. Americans are untroubled by the prospect of India emerging as a power of the first rank. The United States stayed in this unhappy marriage for the last decade in large part because Pakistan provided the transit route for supplies sustaining NATO's ongoing war in landlocked Afghanistan. … A recently negotiated agreement with several former-Soviet Central Asian republics creates alternatives, removing Pakistan's grip on NATO's logistical windpipe. …As with most divorces, the proceedings promise to be ugly. Already, the U.S. is escalating its campaign of missile attacks against "militants" on Pakistani soil. U.S. officials dismiss complaints that this infringes on Pakistan's national sovereignty.” Inspired by LA Times ow.ly/cbDec image source Facebook ow.ly/cbDbG
Hamdeen Sabahi the 57 year old former member of parliament and leader of the Dignity Party finished third place with 21.5% of the vote. As the opposition leader, Sabahi was jailed for political dissidence 17 times during the Anwar Sadat and Hosni Mubarak presidencies. Sabahi has been profiled by Evan Hill in an article on Aljazeera, where he states “Sabahi’s campaign has reflected his likable persona. He is the only major candidate whose posters show him smiling, and his slogan, “one of us,” reflects a more populist appeal than the vagueness of the Brotherhood’s “renaissance is the will of the people” or the sternness of Moussa’s “Egypt needs the work of every Egyptian” or Shafiq’s “deeds, not words”. He has received broad support from Egypt’s journalism and media communities - his headquarters is housed in the office of popular director Khaled Youssef - and his campaign claims that it has run haphazardly on a shoestring, with donors buying billboard and newspaper ad space where they can. …Yet by the first day of voting on May 23, Sabahi had ascended into the national debate. From taxi drivers to pensioners to well-educated consultants, his emphasis on justice and the poor had resounded.” Inspired by Aljazeera ow.ly/bk6FM image source Egyptian Society ow.ly/bk6Dx
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.