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Transformation rather than absolute ending, opening up space for renewal, responsibility, and change.
I walked into the Gothenburg Museum of Art and found myself, finally, face to face with the great exhibition “Apocalypse: From Last Judgement to Climate Threat”. That’s a long title, but so is history, and this exhibition takes its time with it.
The exhibition starts way back when people thought the end would come from above: fire, angels, judgment and it slowly walks you toward a world where the threat comes from our own hands. People have always been imagining the end, sketching it, carving it, painting it onto chapel walls and museum canvases. Turns out fear has a long memory and what really hits you is how familiar it all feels. The old religious images, full of smoke and damnation, don’t feel that far away from today’s visions of floods, burning forests, and collapsing systems. Different language, same worry. Back then it was God keeping score. Now it’s the planet.
The museum spaces are dark, quiet, almost hushed. You move from room to room, from floor to floor the way you might move through a long night, thinking about what went wrong, and what might still be saved. But this show isn’t just ringing the alarm bell and running for the door. There’s something else going on here. Mixed in with all that destruction there is beauty, the beauty of people trying to understand their place in the universe when things start falling apart and the beauty of the creative mind of the artists behind every single piece.
“Apocalypse: From Last Judgement to Climate Threat” isn’t about finality. It’s about revelation. About seeing things clearly, sometimes for the first time. The end of one story but not the end of storytelling.
The future isn’t just something that happens to us. And we’re still very much in the middle of it.
pic 1. Ejnar Nielsen
Death and the Cripple, 1898-1899.
pic 2. Ulf Rahmberg
Painting 21, 1979-1973.
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All right reserved.
For personal use only - this image, or derivative works, can not be used, published, distributed or sold without written permission of the owner.
A Glitch “Motus Tenebris (σκοτεινή κίνηση) ~ Ètude I”
by ™℗®© Louis M o n t i e l
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A Glitch "Nocivis Mentis Excessus ~ 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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A Glitch "Defixions Corporis ~ Ètude VI”
by ™℗®© Louis M o n t i e l
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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.
Well, folks, I’m looking up at this magnificent ceiling, and let me tell you, it ain't just a roof over your head, it’s a whole world up there. A world of light and color, of curves and lines, all the kind of things that make you wanna tilt your head back and take a deep breath.
The golden rings, they got that glow to them, like a fading sunset that don’t wanna leave the sky. And them lights, well, they ain't just bulbs, they’re stars in their own right, spread out, orbiting, sparkling like the first twinkle of the night.
You ever stop and think about a chandelier? It’s like a crystal ballroom where all the dancers are reflections of your thoughts, twisting and turning in the flicker of the light. You got the curves, the arches, each one softer than a lonesome wind blowing through a valley. It's almost as if the whole place is whispering stories, stories from another time, a time when people wore velvet suits, and the air smelled of perfume and cigar smoke. Up here, they’re still dancing, don’t you know? Still twirling and spinning through the ages.
I can feel the history, each brushstroke, each golden touch, they carry the weight of centuries of voices, echoing through the air like a forgotten melody. This ain’t just a ceiling, it’s a living piece of art, alive with every performance that’s been under its gaze. You can see the past in the lines, but you can also feel it in the air alive and well.
So next time you find yourself under a ceiling like this, take a moment. Don’t rush. Look up. Let the lights remind you that everything has its time, its beauty, and its story. And who knows, you might just catch a tune you hadn’t heard before.
“Take it easy in the hotels! We are civilized art historians, not rock stars with a penchant for making a mess and throwing TV sets out the window. Berlin has many good clubs, bars, and restaurants, so avoid partying in the rooms. Apparently the hotel’s other guests are not quite as enthusiastic about this form of social activity.”
A postcard from the road. It says: take it easy at the hotel. See, we’re art historians, the civilized kind. Not the sort who play guitars through broken amplifiers and send television sets flying out of fourth-floor windows.
No sir. Our tools are quieter. A notebook, maybe a worn museum ticket, the soft echo of footsteps in a gallery somewhere between yesterday and tomorrow. But the message still stands: the night’s got plenty of places for living — clubs, cafés, bars glowing like streetlamps in a city like Berlin. Best to keep the hotel room for sleeping, or maybe staring at the ceiling and thinking about a painting that’s been staring back at people for five hundred years. Because an art historian, you see, walks the line between curiosity and restraint. A traveler in time, but one who tries not to disturb the neighbors.
Oh, I almost forgot! There’s another rule, a tip for you. A quiet commandment of the trade: never describe a building or a painting as “pampigt.” Hard word to pin down in English, something like “pompous,” “grandiose,” maybe a little too proud of its own velvet curtains. But whatever language you use, it’s a big no-no. Art historians are supposed to say things like “monumental,” “ceremonial,” or “richly articulated.” Sounds fancier, and it keeps the professors happy.
At the IMMA, Royal Hospital Kilmainham. Interactive public art installation. Liam Gillick: 'A game of war structure' 2011http://visualartists.ie/listings/dublin/liam-gillick-susana-solano-at-imma-dublin/
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A Glitch ”Palas Atenea(Athēnaiē) ~ 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
Today we’re drifting down a long, humid street somewhere between memory and illusion. A place where the air hangs thick and the truth don’t always show up dressed like itself. We’re celebrating a man who knew that territory better than most. Tennessee Williams.
Born where the river bends and the souls keep good company, he came into this world as Thomas Lanier Williams, but like a good riff, he reshaped himself into something that could carry further in the night. Tennessee Williams, that’s a name that sounds like it already knows your destiny.
He wrote about people who were cracked but still catching the light. You know the kind, people leaning out of windows, fanning themselves against the heat, holding on to something that may or may not have ever been real. His characters don’t just walk into a room, they arrive like a storm you can smell before you see.
There’s Blanche DuBois, drifting in on a streetcar named desire, yeah, desire, that old engine that never quite stops running. She’s got one foot in yesterday and the other stepping on a loose floorboard. And Stanley Kowalski, well, he’s the sound of the world knocking back, loud and unpolished, like a screen door slamming in the middle of a dream.
Williams had a way of tuning into the quiet frequencies, the kind most people miss. Loneliness, longing, the soft echo of regret, he turned those into dialogue you could almost sing along, plays that feels like late-night radio transmissions from the edge of something fragile. He never dressed things up too neatly. Life, in his world, is a little frayed at the cuffs. Beauty shows up, sure, but it’s usually sitting next to heartbreak, sharing a drink under a flickering light.
You ever notice how some stories feel like they’re sweating?
That’s Tennessee Williams. The heat isn’t just in the weather; it’s in the pauses, the glances, the things left unsaid. He understood that what people hide can weigh more than what they reveal. And like any good songwriter or playwright, he knew that illusion ain’t always the enemy. Sometimes it’s the only thing standing between a person and the dark.
So if you find yourself wandering through one of his stories, take your time. Sit a spell. Listen close. There’s music in the tension, poetry in the breakdown, and somewhere in the distance a reminder that we’re all, in one way or another, just trying to get through the night with a little dignity left in our pockets. This is Tennessee Williams country. Watch your step.
ink, watercolor on paper
contact ibarraloana@gmail.com
All right reserved.
For personal use only - this image, or derivative works, can not be used, published, distributed or sold without written permission of the owner.
A Film Glitch "Gorgone (μέδουσα) ~ V 1.0”
**Better Sensitive Experience Wear Headphones**
*See Complète Film in IGTV@louismontielt
WARNING:
" THESE COMPOSITIONS ARE SO DARK & BROODING FULL SENSITIVE THAT THE SOUNDWAVES CREATE A SEDUCTIVE BRIGHTNESS " ~ Permission ~
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
All Digital-DATA-Video POST~creative Programming-sensitive & Art RE-sourses:
ADOBE Systems Creative Cloud 2020. FINAL Cut PRO X. Processing.LiVECoding.TOUCH DESIGNER.Python.OPENgl.&P5.js. APP’s CREATIVE ART.
MACINTOSH OSX Big Sur. Logic Pro X. REASON. ABLETON-Live. AUDITION CC 2020. Musique aléatoires(T:screen). CUBASE. StudioLIVE ARB 24BIT Presonus i:S a m p l e r & GliderVerB. MiX-PADS. PROTOOLS. Delirium-M U S I K EXP-erimental. OZONE 7 Advanced.KORG VOLCA BEATS. MASCHINE-NaTive INS-truments. ELEKTRONG´S ANALOG RHYTHM. GLITCH-MUSIK:binary CODE. & HEAR-ing Sensitivity Instrumentation & Improvisation.
by ™℗®© 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 #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
I am Rukshana Hooda, a Visual Artist from the Sir J.J. School Of Art & Sophia College, Mumbai I have an assorted Genre, Very Varied, From Abstracts, Landscapes, Charcoals, Moghal-Art, Human forms, Warli, Historic, & alwayz inspired by Nature around me, its beauty, its serenity, solitude is sometimes Heavenly to me.... If you would like to own an original, unique painting, or buy someone a very special gift, please check out my paintings
Before the world knew her name, Little Eva was watching over somebody else's children, humming melodies while the dishes dried and the day folded itself into evening. Sometimes history knocks on the front door. Sometimes it slips in through the kitchen.
"The Loco-Motion" wasn't about trains. It wasn't about destinations. It was about movement itself. Funny how people will dance to instructions they never asked for. Left foot, right foot, smile if you can. Half the songs on the radio are maps. The other half are escape routes. A hit record can turn an ordinary afternoon into something people remember sixty years later. One minute you're earning a week's wages. The next you're hearing your own voice bouncing off jukeboxes in towns you've never seen. Fame has a habit of arriving overdressed and leaving before breakfast.
Little Eva sang with the kind of confidence that doesn't need to announce itself. She sounded like someone who knew joy wasn't a luxury, it was a necessity. You can hear that in the best records. They don't ask permission to make you feel better. Songs have curious lives. They outlive dances. They outlive hairstyles. Sometimes they outlive the buildings where they were first recorded. Every generation invents a new way to hear an old tune, and every old tune waits patiently for another pair of ears. Maybe that's why records keep spinning. Not because they take us back, but because they remind us that every dance begins with one person willing to move before everyone else does.
And somewhere, if you listen closely enough, there's still a babysitter with a remarkable voice, turning an ordinary room into the center of the world for about two and a half minutes.
ink, watercolor on paper
contact ibarraloana@gmail.com
“Pablo” 2010
70cm x 50cm
acrylic, embroidery, silver and gold details on canvas.
(sold)
contact ibarraloana@gmail.com
The art of sittin’ still. Thinkin’ things over. Not rushin’. Not fixin’. Just bein’.
Some folks think contemplatin’ is just another word for daydreamin’. But I say it’s more like starin’ at an art work inside Glyptoteket with a blindfold on, you might not see much, but you sure as hell feel it. It’s where the ray light curls slow, and the answers don’t shout, they whisper.
You see, in the fast food century, with its buzzin’ phones and twenty-four-hour news hurricanes, contemplation is like tryin’ to read Whitman in a wind tunnel. But some of the finest paintings I ever painted so far, well, started with just sittin’ by a window, watchin’ the trees argue with the wind.
Contemplation’s got a cousin named Silence. They used to run together, back in the old days. You’d find ’em both sittin’ on a front porch somewhere in Tupelo, drinkin’ sweet tea, not sayin’ a word. But boy, you could hear ‘em thinkin’.
In Japan, they call it zazen. In France, it’s réflexion. In the Delta, they just called it "stayin' still long enough for your soul to catch up."
Sometimes you don’t find the truth by diggin’. You find it by sittin’ down and lettin’ the dust settle.
So search for your spot. Open a window. Turn down the noise. And maybe, just maybe, if you listen real close you’ll hear your own heartbeat tellin’ you a story.
// your always truthful Loana Ibarra
contact ibarraloana@gmail.com
Peter D. Gerakaris, Echo Garden Tondo, 48 in. diameter, Oil over polymer on canvas © Peter D. Gerakaris. Private Collection (San Francisco, CA) www.petergerakaris.com/paintings/
A Film Glitch "Trihome in Motu ~ V 1.0”
**Better Sensitive Experience Wear Headphones**
*See Complète Film in IGTV@louismontielt
WARNING:
" THESE COMPOSITIONS ARE SO DARK & BROODING FULL SENSITIVE THAT THE SOUNDWAVES CREATE A SEDUCTIVE BRIGHTNESS " ~ Permission ~
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
All Digital-DATA-Video POST~creative Programming-sensitive & Art RE-sourses:
ADOBE Systems Creative Cloud 2020. FINAL Cut PRO X. Processing.LiVECoding.TOUCH DESIGNER.Python.OPENgl.&P5.js. APP’s CREATIVE ART.
MACINTOSH OSX Big Sur. Logic Pro X. REASON. ABLETON-Live. AUDITION CC 2020. Musique aléatoires(T:screen). CUBASE. StudioLIVE ARB 24BIT Presonus i:S a m p l e r & GliderVerB. MiX-PADS. PROTOOLS. Delirium-M U S I K EXP-erimental. OZONE 7 Advanced.KORG VOLCA BEATS. MASCHINE-NaTive INS-truments. ELEKTRONG´S ANALOG RHYTHM. GLITCH-MUSIK:binary CODE. & HEAR-ing Sensitivity Instrumentation & Improvisation.
by ™℗®© 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 #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
Anna Maria Janiszewska is a photographer, visual and installation artist best known for her analogue photographic work. Having grown up Poland and moving to Ireland in her early twenties she studied at the Institute of Art, Design & Technology in Dun Laoghaire and Ireland’s National College of Art and Design. Janiszewska is interested in using photographic tools and processes to rupture the reality of the everyday, skewing documentary and fiction in order to highlight alternative ways of seeing and experiencing. Over the years her photographic works have been exhibited in many places in Ireland and Poland.
Le projet « Accident » s’inscrit dans une démarche visant à s’interroger sur le Moment Présent.
Notre vie se réalise dans le temps présent. Mais cette réalisation, n’est-elle pas plus souvent le fruit d’un « accident » ?
« Accident » est vu comme une mise en situation par le prisme d’un œil dysfonctionnant aléatoirement.