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Jenny & the Mexicats Lunario 76
Jenny and the mexicats
Photographer: Ernesto De la Vega “Kaede”
Nikon D5100
Lens 18 – 55mm y 55 – 300mm
2013
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
Born in Ukraine 1953, Valentina has been living in Finland since 2000.
I met her in an art gallery where she was discussing with the gallery people, the last details concerning her exhibition, scheduled for the next day. She invited me to the vernissage--opening-- and to participate in one of her water-painting courses, sometime on a weekend.
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
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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 #glitchartisdead #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #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
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
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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 #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.
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
What does Katie see? Katie is my friend Amber's daughter who has Down's syndrome. When Amber and Katie came to visit my studio, Katie seemed to like this piece the best. Out of all of the paintings on display, she choose to stand mere inches away in front of this piece for about ten minutes, silently rocking backing and forth...
A Glitch "Maiko (舞妓) ~ 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
NFT Crypto Digital Art
Marketplace on qurable.co : Buy, Shell & Explore Digital Assets
app.qurable.co/c-louis-montiel
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#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
Peter D. Gerakaris, "Splinternet/La Fantasia Tondo - Detail," 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:
Cities. Big ones, small ones, the kind that stay up all night and whisper strange ideas through the alleyways. And if you’re talking about cities that changed music forever sooner or later you’ll meet the fellow we celebrate today named John Cale.
John Cale was born in 1942 in a small mining village called Garnant. Not the sort of place where you expect wild avant-garde sounds drifting through the hills. Coal dust, chapel hymns, and the Welsh language, that’s the air he grew up breathing. But Cale had ears that wandered farther than the valley. He studied classical music and the viola, eventually finding his way across the ocean to New York City in the early 1960s. New York back then was buzzing like a loose amplifier—painters, poets, filmmakers, musicians all knocking on the same strange door.
Before long Cale fell in with a crowd of musical experimenters, including the drone-loving composer La Monte Young. They were stretching notes out so long you could practically hang laundry on them.
And somewhere in that swirl of noise and poetry, Cale crossed paths with a songwriter from Long Island named Lou Reed. Together they started a band called The Velvet Underground.
Most rock bands at the time were singing about holding hands and driving convertibles. The Velvet Underground… well, they were singing about the underside of the city—late-night streets, strange chemicals, lonely apartments where the lights never quite go out. Their 1967 debut record, “The Velvet Underground & Nico”, came wrapped in a banana courtesy of pop-art ringleader Andy Warhol. The music inside had Cale’s viola screeching and droning like subway brakes, pushing rock ’n’ roll somewhere it had never been before. Songs like “Heroin” didn’t behave like songs were supposed to. They rose slow, shook the room, then collapsed in a kind of beautiful wreckage.
Now Cale didn’t stay in the band long. By 1968 he’d drifted off on his own path, and that road led through some pretty wild territory. Sometimes he made delicate, haunted records like “Paris 1919”—full of orchestras and melodies that float like postcards from another century. Other times he produced records for artists like Patti Smith and The Stooges, helping ignite the sparks that would turn into punk rock.
See, John Cale always had one foot in the concert hall and the other in a basement club where the speakers were blown out and the kids were dancing anyway.
Classical discipline, rock ’n’ roll chaos. Two worlds humming the same strange tune. And that’s the thing about cities. They mash people together who might never meet anywhere else. Painters bump into songwriters. Classical musicians crash into garage bands. Suddenly a new sound is born somewhere between the subway and the symphony hall. John Cale was one of those travelers who carried a little bit of both worlds in his coat pocket.
So wherever you are today—big city, small town, or somewhere in between—remember this: Sometimes the most interesting music comes from the places where worlds collide.
watercolor ink on paper
contact ibarraloana@gmail.com
CRISIS DEL CUARTO DE VIDA (Parte 2 - Pretensiones)
"Da pena verme vivir oculto detrás de mi cara. Decidir vivir es bello, estar obligado a vivir no".
"It's so sad to see me living hidden behind my face. Deciding to live is beautiful. Being forced to live is not"
www.youtube.com/watch?v=CDlhCmvi0og
"Crisis del cuarto de vida" Es una serie de vídeos experimentales. "Pretensiones" es la segunda parte de esta serie.
"Quarter-life crisis" is an experimental video series. "Pretence" is the second video of the series.
Parte 1/1st part: www.youtube.com/watch?v=9ON9VtHpxQQ
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Let this day’s light signal hum like a moth against the screen door, because today we’re celebrating the dial to a frequency that comes in hot, holy, and a little bit haunted. We’re talking about the High Priestess of Soul herself, Miss Nina Simone.
Nina Simone wasn’t born Nina Simone. No. She came into the world as Eunice Kathleen Waymon down in Tryon, North Carolina, where air hangs thick with hymnals and red clay. A piano prodigy before most kids could hold their spoons. She wanted to be the first great Black classical concert pianist, another Johann Sebastian Bach whispering through the American South. But the gates of the conservatory don’t always swing open just because you can play every note better than the rest. So she built her own conservatory out of nightclubs and cigarette smoke.
She took the name Nina — “little girl.” Simone — after the French actress Simone Signoret. And once she sat down at that piano, the piano didn’t stand a chance. She played it like it had insulted her mother. Voice like midnight velvet dragged across gravel. Could sing you a lullaby or an indictment.
Songs like “Mississippi Goddam”, “Sinnerman”, “See-Line Woman”, “Baltimore” weren’t just songs, they were telegrams from the front lines of the American soul. When the world shook, Birmingham, Medgar, the long hot summers, Nina didn’t whisper. She thundered. She turned concerts into courtrooms. She turned melody into a raised fist.
Nina Simone famously rejected the label "jazz" saying it was a term coined by white people to define and restrict Black artistry. She believed her music, which blended classical, jazz, blues, and gospel, deserved the same prestige as European classical music.
So yes, Nina had fire. The kind you don’t bottle up. The kind that sometimes jumps the fence. And I always did have a soft spot for that kind of blaze. Hot, sure. Real, absolutely. The kind of heat that doesn’t ask permission to exist. Especially when it rises up out of a woman who knows the weight of her own footsteps. No porcelain figurines here, no trembling sparrows chirping, “Oh save me, I’m just a little fragile bird who forgot how to fly.” So irksome. None of that paper-wing routine. No victims waiting around for a hero with a cape and a bad haircut. This was a woman who could light her own cigarette and look you straight in the eye while the match burned down to her fingertips.
And me? I would’ve given just about anything to sit across from her in some dim corner booth, coffee going lukewarm between us, smoke curling up like a question neither one of us felt obliged to answer. Just to watch that fire flicker. Just to feel the heat of it, steady and unafraid.
There’s a story, and like all good stories it’s got a little smoke around the edges, about a day when a neighbor was practicing trumpet. Practicing is a generous word. The man was butchering it. Notes flying around like pigeons in a hurricane. And Nina, who had perfect pitch and very little patience for sonic vandalism, reached the end of her rope. She stepped outside with a gun and shot him in the leg. Didn’t kill him. Just punctuated the arrangement.
Now I’m not here to tell you to settle your noise complaints that way. But if you’ve ever heard somebody mangle a melody you love, you understand the crime. Nina lived in a world where music was sacred text. You don’t scribble on sacred text.
She was brilliance and contradiction in the same breath. Tender one minute, volcanic the next. A woman who could sing “I Love You Porgy”, “Be my husband”, “Mood Indigo”, “I’m Gonna Sit Right Down and Write Myself a Letter” (oh me oh my) and make time stop, and then tell you exactly what was wrong with the country before dessert was served.
She left the US for a spell, found herself in Liberia, in France, places where she could breathe without somebody measuring the air. But wherever she went, she carried that same storm cloud harmony.
Nina Simone didn’t just sing songs. She made you sit with yourself. Made you reckon. Made you feel taller and smaller all at once. Cry, make you smile and fill you up with strength. Some artists entertain you. Some artists comfort you. Nina demanded something from you.
And if you played the trumpet badly outside her window… well, you might’ve gotten a sharp review.
ink, watercolor on paper
contact ibarraloana@gmail.com
Tales and peeling back the posters you find in unexpected places. Today, we’re talking walls. Not the Berlin kind. The kind you find in the toilet of your local coffee shop.
A crying Frida Kahlo, staring straight at you showing off her sickly obsession with Diego Rivera as her third eye. And just under her? The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, with all their acid-colored regalia.
Let’s start with Frida.
She’s everywhere these days. Tote bags, T-shirts, mugs, wallets, enamel pins, the mexican bills and yes, bathroom walls. But the Frida on the wall isn’t the whole Frida. They gave her a flower crown and took away her politics. They’ll tell you about her pain — the accident, the heartbreak, the Diego drama. But they won’t mention that she wore earrings shaped like hammers and sickles. That she posed with Lenin’s bust the way most people pose with their pets. That she was a card-carrying Communist until the end, even after Stalin’s show trials and gulags made it harder to romanticize the red flag.
Hell no. The museum labels call her "passionate" and "iconoclastic," but they tiptoe past the fact that she believed in revolution — not metaphorically, not as an Instagram aesthetic, but as a real, political act. They hang her self-portraits but never her allegiance. And somehow, that poster in the bathroom says more than a thousand-dollar catalogue essay. She's still staring, even when we forget what she stood for.
And then there’s Sgt. Pepper.
The album cover that launched a thousand think-pieces. All those faces — from Edgar Allan Poe to Bob Dylan himself. A patchwork of 20th-century icons and eccentrics putted together by Peter Blake and Jann Haworth. But look closer, and you might spot Karl Marx lurking in the back, next to Lenny Bruce and above Marlene Dietrich. Quietly photobombing a cultural revolution. The Beatles didn’t put him there by accident, they were flirting with radicalism too, in their own psychedelic, softly subversive way. George went to India. John went to bed for peace. And Paul? Well, he just wanted to hold your hand, but even that felt radical in '63.
Now these two — Frida and the Fab Four — they’re part of the canon. Institutionalized, sanitized, archived and accessioned. Their faces are in bathrooms and bookshops. But their politics? Those got left behind like a forgotten verse. You won’t hear the Met tell you about Frida's solidarity with the workers, or see the V&A put Marx on the wall next to McCartney. They cropped that out for comfort. Museums and souvenirs like beauty, not bombs. Portraits, not politics.
But out here, in the toilet of a café where the floor is sticky and the espresso’s burnt, sometimes the truth slips through the cracks. Frida’s still wearing her hammer and sickle earrings. The Beatles are still asking you to imagine. And maybe, the revolution is in the restroom.
Don’t forget to tip your barista, question the curators, and listen closely, the walls have more to say than you think.
//all best your always truthful Loana Ibarra
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
Khaled A. Beydoun the American Attorney and author has published an article on Aljazeera titled ‘The business of remaking Arab-American identity’ in which he provides an overview of racial categorization within the USA. Beydoun states “Since its inception, the United States government has had a fixation with race. The judiciary was the government's arbiter of making and molding racial designations, and subsequently, classifying new immigrant communities into the fluidly shifting and arbitrary American racial taxonomy. Racial categories were shaped, and reshaped, according to shifting demographics. Initially, three primary categories, White, Black, and the catch-all “Mongoloid” group were created to distinguish between Americans, and segregate the latter groups from full-fledged citizenship. These categories were incessantly morphed, by American courts, and new titles such as “Caucasian” and “Hispanic”, for instance, were introduced. …The first major wave of Arab-Americans, who arrived in America circa the turn of the 20th century, was largely Christian natives of the Ottoman-colonised Levant. Religion, and the physical appearance of this wave, facilitated racial passing, and American courts ruled that (this pioneering) influx of Arabs were "part of the white race". …Arab-Americans would ultimately be racialised differently, creating a divided landscape where American courts facilitated the early wave's pursuit of whiteness and white privilege, and established jurisprudential baselines that denied the subsequent wave of largely Muslim, "ethnic" Arabs that same path. Caucasian was a legal term imposed on Arabs-Americans, while whiteness as an on-the-ground status was only enjoyed by those Arabs the courts - and the court of public opinion - deemed worthy of inclusion.” Inspired by Aljazeera ow.ly/cbFmF image source America.gov ow.ly/cbF2T
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
A Glitch “Backlum Chaam (बैकलुम चाम) ~ Ètude I”
by ™℗®© Louis M o n t i e l
~ FOLLOW ME & SUBSCRIBE ~
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Facebook ~ Louis Montiel
YouTube ~ 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
I’m back honeybees and today we’re looking at a peculiar kind of picture, not the ones painted with oils, or drawn with charcoal but the kind captured by the blinking eye of a camera, in the echo-filled halls of museums, where ghosts of artists float like dust motes in a sunbeam.
I’m talking about group portraits in front of art, snapshots of people gathered together, faces grinning or grim, trying to act casual in front of a heavily moneyed masterpiece. You’ve seen it. Maybe you’ve been in one. Maybe you blinked.
Click.
There’s always that one guy in the back who didn’t know the photo was being taken. Someone’s crouching. Someone's holding their breath. Someone’s blocking the art entirely — standing right in front of the painting like they painted it themselves.
They say a museum is where time goes to take a nap. But these group portraits they wake it up. It’s the collision of the ancient and the now. A 15th-century Madonna and Child gazing down at a tour group, all dressed in matching t-shirts. Raphael meets retail.
You got newlyweds in front of a Klimt, their love still warm. High school kids clustered in front of a war painting, half-listening, half-texting. A family reunion posing in front of Goya’s nightmares. That’s the poetry of the modern age.
And you know, museums they’re cathedrals of culture. Halls of quiet thunder. And when people huddle together for a picture, they’re not just saying cheese, they’re saying we were here. We stood before the art. We stood before history. We saw the brushstrokes and felt the hush of a thousand years.
Sometimes the art looks back.
So gather close, try not to block the painting, and smile like you mean it. Every picture tells a story, and every group photo tells a bit more.
//stay tight. Your always click on top Loana Ibarra
contact ibarraloana@gmail.com