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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
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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
D798_011
04/07/2015 : Le Puy-Sainte-Réparade, Château La Coste : exposition Different Places (Sean Scully)
In April 2011 Joan Hus showed some of her experimental work in the public library of Nevele, a small town in East Flanders.
Today we celebrate an Aquarius comrade, a man who knew a thing or two about storms inside the house, inside the head, inside the heart. Yeah, today we celebrate Trouble, or Fire, or maybe just Marriage. And sitting at the kitchen table with a match and a stack of papers is our man, August Strindberg.
Strindberg came from Sweden, a place with long nights and longer memories. You don’t grow up under skies like that without learning how to talk to shadows. Born in 1849, which is a good year for ghosts, he wore a lot of hats: playwright, novelist, chemist, painter, alchemist, fighter, lover, and professional arguer with God. Some folks write to understand the world. Strindberg wrote because the world wouldn’t leave him alone. He believed marriage was a battleground, not a ballroom. You read Miss Julie or The Father, and you can hear the furniture moving around by itself. These aren’t polite plays you sip tea to. These are plays where the tea gets thrown against the wall. Men and women circling each other like boxers, like wolves, like planets about to collide. Love, for Strindberg, was never just love - it was power, fear, desire, revenge, and maybe a little prayer slipped in when no one was listening.
He had a mind that ran hot. Burned bridges, burned friendships, nearly burned himself to ash. Had what they used to call a “nervous breakdown” and what we might now call the price of seeing too much. He went looking for God in science, went looking for science in mysticism, and wound up finding mostly himself, staring back, unblinking. That can be a dangerous thing.
But here’s the thing: Strindberg told the truth the way broken mirrors tell the truth. Jagged. Sharp. You don’t look without bleeding a little. And later on, when the pain softened into something like wisdom, he wrote A Dream Play, where time melts, doors open into other doors, and life starts acting like, well, a dream. Suffering becomes universal, almost gentle. Like he finally stopped fighting the storm and learned how to listen to the rain.
Now, my personal favorite Strindberg novel is his most personal and disturbing book he ever wrote. Inferno, not a novel in the usual sense, it’s closer to a confessional diary. Invisible forces are controlling his life, people are spying on him, ordinary events carry secret, supernatural meanings, science, religion, and magic are secretly connected. Strindberg becomes obsessed with chemistry and alchemy, believing he is on the verge of discovering hidden laws of the universe. He conducts experiments in his rooms, interprets random marks and coincidences as signs, and sees himself as chosen or cursed. The walls speak and the best part is how he manages to involve you in this paranoia. I just love it.
Some people want writers to be nice. Strindberg wasn’t nice. He was necessary. He kicked open doors so other folks like Ibsen, O’Neill, Beckett, just to name a few, could walk through and rearrange the air. If modern drama’s got a cracked voice and a nervous laugh, you can trace that sound back to him.
So today, if you’re sitting alone, thinking about love gone wrong, faith gone quiet, or words that won’t let you sleep, remember old August up there, wrestling angels and demons with a pen that wouldn’t behave. He didn’t find peace easy. But he left us something honest. And sometimes, friends, that’s the best you can do.
ink, watercolor on paper
contact ibarraloana@gmail.com
Today we celebrate the sound that finds you before you know who you are, Ryuichi Sakamoto a name that doesn’t knock on the door. It just walks right in, takes a seat on the floor, and starts rearranging the furniture inside your chest.
Ryuichi Sakamoto was born in Japan, but his music never stayed put. It didn’t believe in borders. It traveled light. Piano, silence, electricity, ghosts. He played the future like it was already remembering itself. Sakamoto knew something. He knew that music doesn’t always come to entertain you. Sometimes it comes to recognize you. Sometimes it comes early.
Sakamoto, a man who knew that electricity had a soul problem and decided to help it out. He didn’t treat machines like tools; he treated them like pen pals. Wrote them letters in voltage and waited for them to answer back. And they did. Sometimes politely. Sometimes in riddles. Yellow Magic Orchestra wasn’t just a band, that was a rumor traveling faster than sound. Three men standing still while the world started dancing around them. They took the stuff people were afraid of: microchips, calculators, blinking lights and turned it into pop songs you could hum while the century changed its clothes. In Japan, in Europe, in places that didn’t even know they were listening yet, YMO showed up like a postcard from tomorrow, postmarked now. You could hear Kraftwerk in there, sure, but also video arcades, traffic signals, and the ancient ghosts of melodies that had been waiting a long time for a new body.
I heard about a girl once, she was five years old, living in Lausanne, Switzerland. Too young to explain anything to anybody. Standing in a living room, probably surrounded by grown-up furniture and grown-up worries that didn’t belong to her yet. And then the speakers opened up, and out came Ryuichi Sakamoto. Just appeared. No warning. And the girl started crying. Not because it was sad. That’s the important part. It wasn’t sadness. It was something without a name. Something bigger than language. Like the sound knew her better than she knew herself. Like it reached into the future and said, -You’re going to carry this. Yeah, that girl was I. The tune was “Rain (I Want a Divorce)”. That was the first time I ever cried because of music and that’s an experience you can’t forget. Now fast-forward the reel. I’m soon turning forty two years old. Different rooms, different countries, different versions of myself stacked up like old records. But I put on Sakamoto—any Sakamoto—and the tears still come. Same place. Same feeling. Still not sadness. I guess that’s how you know it’s real. You see, there’s something about his resonance, a very peculiar and out of this world timbre, I’m still trying to figure it out.
Sakamoto’s music doesn’t age. It just deepens. It keeps asking the same question in different ways. It says: Do you remember who you were when you first felt something? And your body answers before your mind can interrupt. Some people run from that feeling. I myself? I love it. I love how the music can still crack me open. Because that’s the thing about crying to music, you’re not breaking down. You’re tuning in.
And Ryuichi Sakamoto? He was a master tuner. He found the frequency where beauty, mystery, and memory all overlap. Where a five-year-old in Switzerland and a forty-year-old somewhere else can meet, nod to each other, and say, -Yeah. This is it.
ink, watercolor on paper
contact ibarraloana@gmail.com
New Orleans bodypainter sat down with us for an interview in issue 13 of A Distinctive Style Magazine.
See the interview here: www.adistinctivestyle.com/issue/22468/9
You know, some voices don’t just sing to you, they stand in the doorway, hat in hand, and tell you the truth whether you asked for it or not. Today we celebrate Johnny Cash, one of those voices. Sounded like it had been carved out off oak, dipped in river water, and left out under a midnight sky in Arkansas.
Johnny Cash came up from Kingsland, born in 1932, cotton fields and gospel hymns ringing in his ears. The radio was his first compass. You can hear that in the records: the old spirituals, the Carter Family harmonies, the freight-train rhythms that rolled through the South like weather. He took all of it in. And when he opened his mouth to sing, it was like the land was singing back.
Now Cash wore black, not for fashion not for flair, but for the folks who didn’t get much light. Prisoners, drifters, the poor and the restless. Songs like “Folsom Prison Blues” and “I Walk the Line” weren’t just tunes, they were confessions. He sang at Folsom State Prison and San Quentin State Prison like he was singing to brothers. And maybe he was. He had that boom-chicka-boom sound, the Tennessee Three keeping time like a train that never quite stops. And standing beside him, steady as a church bell, was June Carter Cash. Their love story ran through the music like a river through rock, you know the storie, sometimes rough, sometimes tender, always moving.
Cash wasn’t afraid of the dark corners. He sang about sin and salvation like a man who’d wrestled both. Later on, when the world thought it had passed him by, he stepped into a different kind of fire with producer Rick Rubin. Those American Recordings — spare, haunted, just that voice and a guitar — they felt like letters written at the edge of the world. Even when he sang songs by younger writers, he made them sound like they’d been waiting for him all along.
He was a country singer, sure. But he was also folk, gospel, rock ’n’ roll — a troubadour in the oldest sense. A man who believed a song could carry sorrow clean across a desert and bring it back baptized.
watercolor, ink on paper
contact ibarraloana@gmail.com
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.
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.
This is me and my mother doing one of the many things we like doing together, for ages, long before it was a thing. Winder bathing, no sauna, because I really dislike it, and only happening in Varberg, because it is actually the BestCoast.
You know, out on the Swedish west coast, where the wind’s got a salt-bitten whistle and the gulls complain like they’re owed back taxes, there’s a little custom my mother and I keep up with. A custom older than those granite cliffs, or at least old enough that nobody remembers who first said, ‘Let’s jump into the ocean the whole year round.’
We call it vinterbad. Winter bathing. Though “bathing” makes it sound gentle. But this… this is more like making a deal with the North Sea. A handshake so cold it burns in the most pleasant way. One of the best winter bath I’ve taken was last year before a snow storm, it was heavily windy, the waves were high as a kite, it was warmer in the water than on land and it was the first time I couldn’t feel my own skin. I was nonexistent. I loved it.
No hesitation, no rehearsal. Just a tumble into that steel-blue deep where the temperature hovers somewhere between “brisk” and “questionable life choices.” It wakes you up. It slows time down till you can hear your own heartbeat arguing with the cold and your breathing making it all work. It cleans you up from inside out. You leave all your problems, your fears, your negativity and let the gentle and understanding sea take care of it, and you.
I say it’s good for your existens. You know, I’ve always thought your essence doesn’t care how cold the water is, it just wants you to feel something.
And after the plunge, we stand there like Buddha under the Bodhi tree, sipping coffee that tastes like it was brewed in heaven by a god with cold fingers. We laugh. We shiver. We smile. We talk about life. And for a moment, we are alive in the same bright way.
So that’s vinterbad, friends, this time the water temperature was still warm, 7 degrees, the best is to come… around zero, perhaps even with snow falling down to enjoy the ride.
Is good to jump in the big eternal beautiful and savage sea to remember how warm the other side can be.
/stay sane, your always hedonistic Loana Ibarra
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.
Daphne Oram was a musical innovator, the first woman to direct an electronic music studio, the first woman to set up a personal electronic music studio and the first woman to design and construct an electronic musical instrument.
artist, bohemian, brazil, budgettravel, couple, curitiba, digital, digitalnomads, drawing, filmmaker, freesoul, freespirit, gypsy, hippie, hopscotchers, LIFE, LOVE, lovers, nomadcouple, nomadic, nomads, peace, rain, reviews, sãopaulo, tips, travel, travel couple, travelgram, traveling, travelingartist, travelingram, travelling, tricks, vagabonding, videos, visual artist, wanderlust, workandtravel #Insta-Posts
hopscotchers.org/it-has-been-raining-2-days-non-stop-in-c...
In winter, here in Sweden, we learn to notice the sun the way other people notice rare birds.
It’s not background, it’s an event.
When it finally slips past the low horizon and finds its way through a window, the whole house seems to pause.
The light doesn’t just land; it arrives, slow and deliberate, washing over the floor, climbing the walls, catching on the frames of paintings like it’s checking them out one by one.
For a moment, everything looks chosen, intentional.
You move your chair an inch to the left, just to be in it. There’s a quiet reverence to it, rambling, warm, half-myth, half-weather report.
Nobody says much.
You just let the sun play its brief set, knowing it won’t encore, and that makes it matter more.
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.
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.
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 "Ushás ( θεά του πόθου ) ~ Ètude II”
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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
Cock Park Restaurant Branding Design By #Akib_Sarder
This Project On:
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A Glitch "Code de Données Burqa Tchador ~ 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
A Glitch "Corps Voluptis Pygophilia (pygophilia) ~ Ètude I”
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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A Glitch "Terpsichrois(Τερψιχόρη) ~ Ètude II”
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
Woman chalk drawing on bricks
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2019 Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
My E-Mail Address is jscorwin@mac.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.