specific photos on Flickr

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Inauguración: Viernes 14 de septiembre a las 20 h.

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

'Os será más fácil sacarles el oro a los hombres que a los ríos'1

"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.

Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.

2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.

Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

GALERÍA DE FOTOS

[ver + fotos]

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

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PREMIK RUSSELL TUBBS, Multi-Instrumentalist / World Music by Premik Tubbs

World / Jazz / Experimental / Improv / East-West / Ambient / Pop

PREMIK RUSSELL TUBBS

www.nj.com/hudson/index.ssf/2015/08/local_conductor_prese...

Focus -amidst the shifting sands of time. Change is inevitable.

Keeping time & letting go.

"Improvisation is an onion of infinite layers. You explore one set of ideas or a specific pattern, taking it to the enth degree, than another layer presents itself. Then another, then another, ad infinitum. Then you wonder why so many creative artists over the years have turned to drugs or other substances, hoping for a short cut to that final layer, but there is no short cut or final layer. That’s the wonderful thing about creativity." -Premik Russell Tubbs

“Nothing endures but change.”

― Heraclitus

“No man ever steps in the same river twice, for it's not the same river and he's not the same man.”

― Heraclitus

“The butterfly counts not months but moments, and has time enough.”

― Rabindranath Tagore

“If you cry because the sun has gone out of your life, your tears will prevent you from seeing the stars.”

― Rabindranath Tagore

“Love's gift cannot be given, it waits to be accepted.”

― Rabindranath Tagore

____________

Most recent recordings and projects:

In 2012 Premik recorded with 2011 Grammy nominee vocalist and composer Chandrika Krishnamurthy Tandon. 'Over 75 musicians came together to record the album in the US and India combining ancient traditional instruments like the rhumba, calypso, ektara, dugdugi and esraj with saxophone, banjo and piano to transcend musical boundaries.'

www.indianexpress.com/news/chandrika-tandons-new-album-in...

Sound Samples: www.amazon.com/Soul-March-Chandrika-Krishnamurthy-Tandon/...

www.cdbaby.com/cd/chandrikakrishnamurthyta2 Check out "JOG"

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Recording projects in 2010-2012 with Grammy award-winning producer and founder of Windham Hill Records Will Ackerman include albums by Fiona Jay Hawkins, Shambhu, Dean Boland, Rebecca Harrold, Ronnda Cadle and Masako.

Will Ackerman: ...‘The criteria for who works here go way past simple talent. Imaginary Road is my home and I’m only letting wonderful people into my home. I don’t care how talented you are; if you’re not able to wear your heart on your sleeve don’t bother to turn up. We use Keith Carlock (Sting and Steeley Dan) as a drummer too along with Arron Sterling (John Mayer and Sheryl Crow). Only last year I met Premik Russel Tubbs who plays sax and wind synths for us.

‘Premik has become part of the family...'

www.newagemusicworld.com/will-ackerman-interview-new-in-2...

imaginaryroadstudios.com/

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Premik recorded with Heidi Breyer and accompanied her at the ZMR Awards 2013, staged in New Orleans.

www.zonemusicreporter.com/admin/performers.asp

ZMR Awards 2013 -Best Instrumental Album – Piano - “Beyond the Turning” - Heidi Breyer - Winterhall Records, produced at Synchrosonic Productions by Grammy winner Corin Nelsen. www.heidibreyer.com/

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Premik, in conjunction with jazz pianist Uli Geissendoerfer heads Bangalore Breakdown, an exciting, world music ensemble. They released their first CD, titled Diary, in 2008. In the words of noted Jazz author Bill Milkowski: Is it world music? Is it jazz? Is it some kind of new uncategorizable fusion that hasn’t yet been labeled?

Sound samples here: www.bangalorebreakdown.com/music.html

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Premik and Uli Geissendoerfer will soon be releasing their own collaborative duo CD titled Passport to 'Happyness' (yes, happiness with a 'y'') www.ulimusic.com

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Premik will soon be featured in Carman Moore's Cd “Concerto for Ornette” in which Premik will play the orchestral solo saxophone part. Premik is also the featured saxophonist with SKYBAND on its recording of Carman Moore’s “DON AND BEA IN LOVE,” a fantasy concept album roughly about the intense Renaissance love between Dante and Beatrice which, in part, takes place in outer space! Carman Moore is a 2013 Guggenheim Fellowship winner. www.carmanmoore.com

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Premik’s ‘Journey To Light Ensemble’

Sound is East/West, jazz., a journey....

With Premik Russell Tubbs (saxpohones, flutes, lap steel, wind synth),

www.premik.com

Dave Phelps (guitar),

www.davidphelpsguitar.com/

Leigh Stuart (cello),

leighstuart.com/about/

Nathan Peck (upright & electric bass),

www.alexskolnick.com/biography-nathan-peck/

Todd Isler (drums, percussion)

toddisler.com/

Naren Budakar (tabla)

www.sooryadance.com/html/Milan/naren.htm

Watch for a Journey To Light Ensemble album to be released in 2014

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TriBeCaStan

Premik (saxophones, flutes, lap steel, wind synth)

tribecastan.tv/

***

Performing in:

25th Anniversary of the Rainforest Fund Benefit Concert

Thursday, April 17, 2014

Carnegie Hall

Stern Auditorium / Perelman Stage

7 PM

www.carnegiehall.org/Calendar/2014/4/17/0700/PM/25th-Anni...

***

Premik solo in SINGING THE OCEANS ALIVE CONCERT with the ROYAL PHILHARMONIC ORCHESTRA

Fairfield Hall concert LONDON, ENGLAND APRIL 25, 2014

Watch/Listen

YouTubes

Premik solo with the London Royal Philharmonic performing "Apla Kathar."

The main melody was composed by Sri Chinmoy & orchestrated by Vapushtara Matthijs Jongepier.

www.youtube.com/watch?v=XbhReDbyIOY

High praise from Craig Pruess:

"The piece was excellent, thrilling even, very well orchestrated, and your playing was note perfect. An honor to work with you, my man." –Craig Pruess Composer, Musician, Arranger, and a Gold & Platinum Record Producer

www.heaven-on-earth-music.co.uk/

www.youtube.com/watch?v=4euUuBNUzco

Song of the Ocean by Kristin Hoffmann

All performers of the evening take the stage with the London Royal Philharmonic Orchestra

__________________

Short Bio

World / Jazz / Experimental / Improv / East-West / Ambient / Pop

PREMIK RUSSELL TUBBS

Premik, a composer, arranger, producer and an accomplished multi-instrumentalist performs on various flutes, soprano, alto and tenor saxophones, wind synthesizers, and lap steel guitar.

Premik has worked with everyone from Carlos Santana, Whitney Houston, Herbie Hancock, John McLaughlin, Ravi Shankar, Narada Michael Walden, Clarence Clemons, Ornette Coleman, Jackson Browne, Jean-Luc Ponty, Lonnie Liston-Smith, Scarlet Riveria, James Taylor, Sting and Lady Gaga, just to name a few. He is equally adept in pop, R&B, jazz, world and experimental genres.

Sax solos on #1 Hits -: “How Will I Know” (Whitney Houston) and “Baby, Come To Me” (Regina Belle).

Premik's first major recording breakthrough was with John McLaughlin and the Mahavishnu Orchestra on the album“Visions of the Emerald Beyond.” Premik was a major part of the landmark Carlos Santana album "The Swing of Delight" which featured Herbie Hancock as co-arranger and co-musical director. Also featured were Wayne Shorter, Tony Williams, Ron Carter and several members of the Santana band.

www.premik.com/recordings/discography/

In 1978 Premik joined Carlos Santana on a six-week European tour as part of an opening act for the Santana Band called Devadip Oneness.

www.youtube.com/watch?v=beD58ordH08

"Gardenia" - DEVADIP European tour w/ Carlos Santana, Dec.'78 in Paris

www.youtube.com/watch?feature=player_embedded&v=juVuh...

!978 Devidip Orchestra Live In Sweden

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www.reverbnation.com/premik

www.broadjam.com/premik

www.myspace.com/premik

www.premik.com

www.emusic.com/album/premik/mission-transcendence/10884302/

en.wikipedia.org/wiki/Premik_Russell_Tubbs#Discography

New music coming soon!

www.flickr.com/photos/42514297@N04/sets/72157632988389457...

Album Slideshow -click on 'options' to see captions w' slideshow

For slow 'animated' slideshow click the double rectangle at the top right side of "set"- album of choice - page

____________

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Using Flickr – if not signed in (may differ if signed in)

1. www.flickr.com/photos/42514297@N04/sets/72157632988389457...

-Slideshow – Album Set, A Life Of Music - to be cont'd. ...(with GRATITUDE!)

(Click above link and once in the SLIDESHOW click on (upper right) 'Options' to control speed & Show Info’ to see captions w' slideshow

2. To the right of any photo – click upon the oval icon with Premik’s photo to go to the full page of all photos posted (the ‘Photostream’) or the X in the upper right corner to return to the full page of the Set album you are in

3. Click the small rectangle icon to the right of the full album ‘set’ page to see the SLOW ‘ANIMATED’ slideshow of photos within the album

4. To see individual photos –just click on any photo you would like to see from the full page. Caption will appear to the right

5. Scroll down the caption until you see small thumbnail sized photos – click the 3 dots directly under these photos- Click on ‘Download / All sizes’ to see photo enlarged

This will allow you to enlarge the photo you are viewing (or click to see as a slideshow as in #1.)

Note: Much of the above works well with CELL PHONES when good WiFi connection is available

The ability to enlarge photos for detail with cell phones is surprising.

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Robert Cremean: STUDIO SECTION 2008-2009 by rdlv1

1

MONOLOGUE OF THE ARTIST, top quadrant of the center diptych of the West Wall. The entire monologue may be read below.

STUDIO SECTION 2008-2009 is an extension of the “non-specific autobiography” realized and examined by Robert Cremean in VATICAN CORRIDOR, A Non-Specific Autobiography. It consists of three parts: East Wall: Calvary—Donors With Crucifixion, in which the artist gives unprecedented voice both to Gestas and to Dismas who were crucified with Jesus; Il Passetto, the corridor in which he makes a metaphoric exposition of the treatment of women by the three “hats”: the helmet of the warrior, the mitre of religion, and the bowler of commerce; and West Wall: Self-Portrait As a Young Artist in which “the young artist” is addressed verbally and metaphorically through three monologues: the Monologue of Art, the Monologue of the Artist, and the Monologue of History. Listening to the conflicting and diametrically opposing views written on the diptych behind him on the West Wall is the bust of the young artist who looks with an inscrutable gaze through the horrors of Il Passetto to the horrors of Calvary on the East Wall and at the Donors, aloof and blinded to the controlled chaos behind and in front of them.

These are but a few of the ideas and images contained within STUDIO SECTION 2008-2009. As in any work of art, the viewer may create his own world out of the images, metaphors and words confronted therein.

STUDIO SECTION 2008-2009

East Wall: Calvary--Donors With Crucifixion

West wall: Self-Portrait As A Young Artist

Middle: Il Passetto

2008-2009

Wood, wood mâché, metal, gesso, modeling paste, acrylic, graphite

Each of the six diptychs measures 8' x 8' 1"

Over all dimension for exhibition: 40' x 40'

Collection:

Toledo Art Museum

Toledo, Ohio

Monologue of the Artist

Who I am signifies nothing. What I am signifies something. What I seek signifies everything. I know not who I am. I know not what I am. I exist as a question that has no answer—as an answer that has no question—as the cleaving wedge between absolutes—as the mortar that cements opposites—as the paradox that eludes reproach. I am feared, resented, titillating and tiresome. I am the gray space between black and white, untransversable and obliquitous...an unfathomable separation that spawns questions and inhibits answers...shades of gray in osmotic separation unto infinity. My very existence belies the metaphors of dogma...this I know, but I do not know what it signifies, not for me, not for my work— and not for others. I sense that I must redefine myself in terms of a new configuration. How I have been shaped must be reconfigured...undone and reconfigured, for I was shaped to hate myself, to hate the very spine of my selfness. Through the deception of love and duty, my selfness, the core of me, was crucified, without pain or permission—the agony postponed. My re-creation of selfness, my pursuit of that which was stolen and perverted through love and through fear is one of profound joy. This I that I am I have ripped from the womb of mediocrity and it will end because I will end, and I will end because it is over. Knowing that there can be no judgement other than my own, I intend to live my life in neither intimidation nor subservience, pandering neither to culture nor to history. Being hierarchies of winners and losers, they are simply that, playgrounds in a separate reality. I am, was, and will always be a young artist; Death is my only concession to age and death is only an inconvenience that will leave my work unfinished. My distance from the horizon has never wavered. I continue to exist on an unchanging arc of possibility. I would speak now of my one exquisite experience with transparency, that once and only orgasm of exile which rips one from the security and complacency of a past and future into the chaos of the eternal now. There is no return...the experience is overwhelming, the orgasm, explosive and inexplicable. There are no words, only the knowing that one must survive within a seismic shift of metaphor. I now exist on the other side of the mirror; the hierarchies of history and culture, incoherent. I have embraced failure—reward, a distant memory. I speak now from inevitability. Time is of no consequence. There is only now. I cannot project forward or back for they do not exist. What I was and what I will be is for the metaphors of others. I speak from the now for that is my amness. There is no other. Another event that requires no sequel to reinforce instruction occurred while viewing Donatello’s Judith and Holofernes: A pigeon alighted on Judith’s head and shat, thus proclaiming Art’s nothingness. Art, history, and culture exist within human solipsism. Humankind and its realities are artifacts and nothing is as it should or must be. Only the pigeon had the advantage to inform...Nature does not share our reality. The entire human condition is an invention. I find great beauty and horror in this enlightenment. We are both free and enslaved by choice. Religion, culture, Art, war, history—civilization, nothing, absolutely nothing, has to be the way it is. Humankind is a gestalt of many metaphors jockeying for the alpha position of reality; that image which flatters the majority in the mirror of possibility. The war for position is engaged ceaselessly on battlefields of live or die intensity bloody with error and circumvention. It is a winner take all conflagration where losers are slaughtered like flies on tongues salivating acid...What we accept is an accumulation of repeats. It is on the common battlefield of culture and art history that my conflict lies. It is their aura of inevitability that galls. But they, too, are artifacts, artificial and self-proclaimed arbiters of a synthetic intellectual systematization which imposes the smothering order of sameness protecting predictable repeat from the chaotic impulses of response and epiphany. Nothing must be the way it is—especially the bland mediocrity of processed thought. How contained and neatly packaged it is now where every programmed gesture becomes a new ism; how quickly dealt this one card deck, the avant-garde, the expected and demanded Ace in the play of hierarchies and linearities. Commerce and culture have homogenized into an inseparable putrescence fit only for blind consumption. Even irony—especially irony—has lost its edge. Vulgarity has outdistanced its subtlety. Only the culture and history itself lend credence to irony’s persistence. Art history, still enthralled with its reflection of masculine metaphors, continues to perceive itself as creator and anointer of movements and moments...this is irony of the highest order. Since 8/6/45 all metaphors of masculinity have been struggling to remain indelible as they fade into the palimpsest of evolution. History, by virtue of its definition in the human lexicon, is ironical in the extreme for it has failed to record its own demise. 8/6/45 was not a link like any other in a chain of linear recordation. It was the definitive event marking the end of history and the laying down of fossils. Art history has become the ultimate authority in the validation of artifacts and the culture dutifully collects these would be fossils for the presumptive proof of time’s linear progression. This retention of evidence has assumed a bathos bordering on pathology...But I am not a culture-maker, neither critic nor curator of artifacts or articles. I am an artist and must seek—or invent—the truth...and that, too, is an artifact. I search, then, for that which I have invented, an abstraction as ephemeral and duplicitous as I, myself, an invention layered invention upon invention, like fossils in sectioned complexity. As I descend this purpled plane, this triangle wedged between Art and history, their opposing forces press me smaller. Soon they will be rid of me, the who of me, leaving an ascending wedge of whatness to re-engage separation. This hourglass is the who and what of me, my life, my truth, my isness, and homogenization of Failure and Desire. I am in the time of strangers...Names no longer signify. Spaces have been emptied and refilled with unlined faces. Dark hair turned white and dark again. Genders shifted, sexes changed. Whos have turned to whats and back again. Dreams and memories have blurred boundaries of premonition. What is this schism of histories that has left me on one side of the horizon and culture on the other? Personal memory is my truth and all else is hearsay. Art demands this loyalty and I abide. This is not choice—it is abdication. If I subside, so be it. If I am lonely, so be it, for I reside among strangers...But I am not lonely; my perceived loneliness, an exclusivity of purpose. I sense I am wrestling with a chimera—a tactility of fabulous dimension, a reality more significant than my own life. I am dwarfed by it, attaining stature only through engagement. My life ended with it’s first embrace—and only then did my life begin. Now I know no other and am exalted in its suffocation. It is my isness and by it must I be measured. I expect nothing more...I demand nothing less. My whoness wanders the vaults of what might have been. So many choices and yet no choice at all. I have done what I am doing and rejoice in its possibility. Always there is failure, always there is possibility. Only in death can success find purchase...And still I am torn by history, by remembrance, by the idea of never being forgotten, to live on in my artifacts...And here lurks hope, that monstrous seducer, destroyer of the now, hope, grasping, snatching purveyor of misery and perpetuator of culture, enemy of Art. Culture demands allegiance and exacts punishment for non compliance. Art is its enemy and is a threat to any culture that must, by definition, be cumulative and hierarchical. Any defection or deviation is a depletion of authority, power, and control; a direct and unadulterated response to Art is anarchy. Art’s endurance and survival is serendipitous. It relies neither on cultural intimidation nor the recordation of history. It is free associating and catalytic affording any viewer, at any time, at any place, with any artifact the possibility for response exclusive of the culture-maker’s obsession for intimidation and indoctrination. My now is dominated by the parity of art and culture. They are become synonymous.This presents for me two questions: What difference does it make? And: What are you bitching about? My answer to the first question is: Because I am an artist...and my answer to the second: Because I am an artist. I revolt against enforced historicity—especially when there is no history to enforce; then it is tyranny, and then, as always, is now. Consensus is neo this and neo that. The distance between isms has shrunk to preposterous dimension. One can smell the fear and anticipation. History is being manufactured beyond draftsmanship and its frangibility is percussive. Our culture-makers would have us believe that “contemporary art stresses the importance of multiple coexisting interpretations and the role of the viewer’s perceptions in ‘completing’ the work.” This appears to be the law of first pretensions: the denial of vacuity and the con of altruism. From where comes this preening self-serving superiority to presume to know what art should be and the roles artist and viewer should play to “complete the work” and to complete what work? Obviously, “the work” refers to that of the culture-maker since it is he who has created the roles and set the rules for the continuing homogenization of art and culture. With his metaphors of investment and entertainment, Art is being vitiated from the inside out. “Art for fun and profit” is not my metaphor. It is this culture’s own. When culture-makers “discovered” the masses, art became just another stall in the marketplace. Viewing the now with the monocularity of a young artist with a 77 year old male homosexual is justified by their juxtaposition. The struggle for the furtherance of self has been similar and singular, a laminate of expansion and contraction to avoid cracking and crumbling. The desire to annihilate and erase has been experienced from both gay basher and critic. The intent of an insecure critic who commits an ignorant insecure hatchet attack review is no different from the ignorant, insecure, and bigoted rants of the homophobe. The desire to inflict pain and fear is the same. This is not a complaint—rather, perhaps, a clarification. A young artist, no less than a young person, is prepared for such assault and I, for one, have never met an old artist—only, perhaps, dead ones. But death can come at any age...even to critics and homophobes. The walking dead surround us. As I work this wall, my mind slips through the narrow throat of this descension onto the plain of possibility. New work is scattered and obtuse. I wander this wall as a familiar though it will not release me until failure is confirmed. What if there were nothing worth saving from a culture such as this that depends so heavily on history to commend it for having taken up time and space? Primarily this culture exists in magazines, photographs, reviews and bloated intellectualism...a belief system, really, that relys on wealth and intimidation. Art=culture...Culture=art. A simple, elegant equation. Unfortunately, it is a lie. It resembles Catholicism; all aspects are outsized, ritualized, and hierarchical...Whos beneath whats and small whats beneath larger whats, huge imposing galleries with huge imposing artifacts with huge imposing prices by artists with huge imposing names, all manufactured by huge imposing culture-movers with blind taste, all operating behind the humble non-self-serving, cultural metaphor of “...stressing the importance of multiple co-existing interpretations and the viewers perceptions in ‘completing’ the work.” This farce is so obviously naive—or devious—that it defies credibility. Just as Catholicism has nothing to do with Jesus, this cultural metaphor has nothing to do with Art. It is all bullshit and pomegranates, having only to do with commerce and commodification. Desire is the essence of human isness. Everything that I have ever been or will ever be springs from this single source, and from here springs history, culture, and Art. And each spawns artifacts and ideas; metaphors vying for survival. The human condition’s struggle for survival has been magnificent and, in the face of what is to come, erased.

Prohibido cantar / No Singing. Jordi Colomer by Matadero Madrid

JORDI COLOMER

Prohibido Cantar / No Singing. Obra didáctica sobre la fundación de una ciudad paradisíaca.

Desde el 14 de septiembre

Precio: Entrada libre

Institución:

Abierto x Obras

Inauguración: Viernes 14 de septiembre a las 20 h.

Jordi Colomer es el encargado de esta nueva creación site specific en la antigua cámara frigorífica de Matadero. La obra de Colomer explora una singular visión de la escultura incorporando dispositivos escénicos, fotografía y videoinstalación.

'Os será más fácil sacarles el oro a los hombres que a los ríos'1

"La fundación de una ciudad no es forzosamente un acto heroico. Para las ciudades antiguas, la arqueología tantea un orden cronológico, desempolva las pruebas del suceso, mientras la Historia y la leyenda proponen sus relatos. Dice Jorge-Luis Borges: 'A mí se me hace cuento que empezó Buenos Aires: La juzgo tan eterna como el agua y como el aire'2.

Pero cada día, empiezan nuevas ciudades, construidas de agua, de hormigón, de sudor y de dinero. Algunas son -casi- pura idea. En su programa electoral el presidente Kubitschek prometió la creación de una moderna capital para Brasil y, en tres años, Brasilia se levantó entre las malezas del plano alto central, siguiendo fielmente los planes de Lucio Costa. A su vez los obreros que la pusieron en pie, venidos de todas las regiones del país, plantaron sus chamizos trémulos donde dormir y fundaron -sin saberlo- su propia ciudad. Hay ciudades de cristal que crecen en los despachos, y otras de lata y cartón que bailan al ritmo de sus propios habitantes. En una ocasión, a un grupo de forajidos a los que la policía les pisaba los talones se les estropeó el camión en pleno desierto. No podían seguir, ni ir hacia atrás. Fundaron entonces allí mismo una ciudad paradisíaca, la ciudad dorada, donde el mayor de los crímenes era no tener dinero. Esa ciudad se llama Mahagonny y Bertolt Brecht la imaginó al tiempo que Las Vegas brotaba con la forma de ciudad que hoy conocemos.

En Prohibido cantar / No Singing unos pocos personajes plantan un garito donde se ofrecen juegos de entretenimiento, trucos, amor y comida a bajo precio. La acción transcurre cerca de un camino polvoriento, en los mismos solares en los que hace un tiempo se proyectó una gran ciudad privada, con 32 casinos, llamada Gran Escala, que debía atraer a 25 millones de visitantes, pero que nunca vió la luz. Las imágenes que presentamos (en 7 pantallas) muestran cómo prospera la ciudad de Eurofarlete, bajo un sol inclemente y el cierzo soplando. Están compuestas de fragmentos de lo que allí sucedió durante dos días, y quizás ayuden a discernir una singular forma de organización por la supervivencia, donde todo está en venta, a precio de ganga y también a cualquier precio".

Jordi Colomer

1 Bertolt Brecht. Ascenso y caída de la ciudad de Mahagonny.1927-30.

2 Jorge Luis Borges. Fundación mítica de Buenos Aires in Fervor de Buenos Aires, 1923

BIOGRAFÍA

Jordi Colomer (1962) nació en Barcelona, ciudad en la que estudió Arte en EINA, Historia del Arte en la Universidad Autónoma y Arquitectura en la ETSAB. Vive y trabaja entre Barcelona y París.

Desde sus inicios el trabajo de Jordi Colomer ha ido incorporando a una singular visión de la escultura elementos de los dispositivos escénicos. Desde 1997 ha privilegiado el uso de la fotografía y la video-instalación. Sus primeros vídeos tomaban forma de micro-narraciones de raíz beckettiana, en los que los habitantes se debaten con objetos, decorados y espacios artificiales. En un segundo período estos personajes recorren la calle y el desierto con gestos y derivas que - (no exentos de cierto humor absurdo) - contagian un marcado espíritu crítico. Las obras de Colomer exploran las posibilidades de supervivencia poética que ofrece la urbe contemporánea. Así surgen obras como Anarchitekton (2002-2004), proyecto itinerante a través de cuatro ciudades (Barcelona, Bucarest, Brasilia, Osaka), No? Future! (rodada en Le Havre, 2004), Arabian stars (Yemen, 2005), Cinecito (La Habana, 2006), En la Pampa (realizada en el desierto de Atacama, Chile, 2008), Avenida Ixtapaluca (houses for México, 2009), The Istanbul Map (Istanbul, 2010), o más recientemente la trilogía What will come (Nueva York, 2010-11) donde los propios habitantes escriben el guión con sus desplazamientos en la suburbia americana ; o el proyecto Crier sur les toits (gritar a los cuatro vientos, 2011) donde se propone utilizar las azoteas como un pedestal a escala urbana, instituyendo una fiesta mundial. En l’Avenir (2011), inspirada en el Falansterio de Charles Fourier, las imágenes dan rostro a los habitantes de un proyecto utópico y son a la vez un comentario sobre sus posibilidades de materializarse. La instalación Prohibido cantar que aquí se presenta, investiga una vez más esa tensión entre proyecto y realidad, dibujando un espacio híbrido, a la vez totalmente físico y puramente mental; los proyectos de construcción de una ciudad de oro y casinos, que los medios anuncian tiene visos de precisarse y un lugar con mucho viento, contaminado por proyectos imaginarios del pasado y ahora ocupado por personas jugando a la ficción. Nótese que el propio espacio de Abierto x Obras ha quedado transformado por efecto de todas estas visitas.

Ha trabajado también como escenógrafo para el teatro en obras de Joan Brossa, Samuel Beckett, Valère Novarina así como en una ópera de Robert Ashley.

PROHIBIDO CANTAR / NO SINGING. JORDI COLOMER

(Didactic work on the foundation of a paradise city)

From 14 of september

to 09 of december

Price: Free

Institution:

Abierto x Obras

GALERÍA DE FOTOS

[ver + fotos]

'It's easier getting gold out of men than from rivers'. Bertolt Brecht,

The Rise and Fall of the City of Mahagonny, 1927-30

The foundation of a city is not necessarily a heroic act. Everyday a new city begins to be built on water, concrete, sweat and money. Some are -almost- a pure idea. In his election manifesto president Juscelino Kubitschek promised the creation of a modern capital for Brazil in three years, Brasilia was built amongst the weeds of the high central plane, faithfully following the plans of Lucio Costa. At the same time the builders, who came on foot from all parts of the country, pitched their trembling huts where they slept and founded– without knowing it- their own city.

There are glass cities that grow out of offices and others made from tin and card that dance to the rhythm of their own inhabitants. On one occasion, a group of outlaws were being tailed by the police, when their truck broke down in the middle of the desert. They couldn't keep going or turn back. So they ended up founding a paradise city, the golden city, where the worst crime was not to have any money. That city was called Mahagonny and Bertolt Brecht envisioned it at the time when Las Vegas came about shaping the image of the city that we recognise today.

In Prohibido cantar / No Singing a few characters make a gambling den where they offer entertainment games, tricks, love and food at low prices. The action takes place close to a dusty road, on the same plot of land and during the time in which a great private city was planned, with 32 casinos, called Gran Escala, which was to attract 25 million visitors, and yet never saw the light of day. These images reveal how the city of Eurofarlete thrives, under a blazing sun and strong blowing winds. Fragments of what passed there over two days may help to discern the particular form of organisation needed for survival, where everything is on sale at a bargain price or indeed at any price.

Jordi Colomer (Barcelona, 1962) His work explores the possibility of poetic survival that is offered by the contemporary metropolis through a unique vision of sculpture incorporating scenic devices, photography and video installation. Prohibido Cantar / No Singing returns to investigate the tension between project and fiction and creates a hybrid space, on both a physical and mental plane. He has been educated in art, art history and architecture, among his latest solo shows are l'Avenir in the Palais de Beaux Arts (Brussels), What will come in the Argos Centre for Art and Media (Brussels), Co Op City at the Bronx Museum of the Arts (New York), Fuegogratis in the Laboratorio Arte Alameda (México D.F.), La Panera (Lleida) and Galerie du Jeu de Paume (Paris).

Paris, Musée du Louvre, Paolo Veronese, Porträt einer Venezianerin, genannt La Bella Nani (Portrait of a Venetian woman aka The Beautiful Nani) by HEN-Magonza

4 1

The Venetian lady played a specific role in public life: she served as a foil. The splendor of her garments and the costliness of her jewelry were not only signs of her personal wealth, but also a symbol of the city's power. Indeed, women served to adorn the town. The Nani family was foremost in Venetian society, and this young woman may have been one of its members. The use of the word "Bella" in the title leads us to think that this was not an individual portrait, but a representation of ideal beauty. The figure is in fact a depiction of all the criteria of beauty sought after in Venice at the time: blond hair, a pearly complexion and radiance, as well as sweetness of character, reserve, or the quasi-shyness appropriate to any married woman. The wedding ring she wears ostentatiously on her left hand is amply indicative of this. A full blue velvet dress falling in thick folds, the fineness of the transparent white muslin overgarment, the sumptuosity of the decoration on the shoulders and the heaviness of the belt around the edge of the pointed bodice with its enormous golden clasp studded with precious stones transform this gentle-looking young woman into a Venetian aristocrat. Comparisons between the Bella Nani and the bride in the Marriage at Cana are somewhat disturbing. They were probably both very close to Veronese's ideal of feminine beauty.

Source: www.louvre.fr/en

No. 23: Bumble Boogie by Jools Holland by Matthew Wells

2

Would you like a take a shortcut to a specific Gromit?

19940603 - Grandad - Alexandria Journal next page - (public version) - by Claire CJS

Grandad on the cover of The Alexandria Journal, in honor of 50th Anniversary of D-Day. About halfway down the article text you can read some very personal stuff about his specific actions on D-Day, including his chilling quote, "In war, they don't scream like they normally would. They scream for their mothers."

PHOTO CAPTION: "Former United Press correspondent Doug Werner, left, dodged heavy fire while unarmed and carrying a typewriter. James L[REDACTED], below, swam to shore after more than a third of his unit was killed leaving the boat."

FULL ARTICLE TEXT:

"Fifty Years Ago, on June 6, 1944, the allies attacked a continent enchained by a forced of evil that historians today still struggle to understand. Nazi Germany had plundered civilized Europe and murdered millions of its peoples for nearly five yeras. The invasion launched early on that June day sought to put an end toall that and restore peace to what was left of a continent. From sites in southern England the Allies crossed the English Channel in the greatest amphibious invasion in history. On D-Day, soldiers--supported by air and naval forces--begin the long, bloody fight to free Europe and the world from the Nazis. The war in Europe did not end on D-Day, far from it. But it marked the beginning of the closing chapter of the most destructive war in history.

[COLUMN CUT OFF, SO THIS PART IS FRAGMENTS]

future wife, Ronni [sic; my grandma], from a

camp.

,000 others like them endured

es the rough English Channel

so lethal that even the most

surprised.

rt, we were oversold," said

from his [my grandad] home in Alexandria.

were members of the 16th

1st Infantry Division, which

Sicily in 1943 and in Algeria

were prepared to meet the

ere.

and the 29th Infantry divi-

irst wave onto Omaha Beach

ia National Guard, were met

resistance than anyone had

had been on tactical drills in

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beach, positions to fire on the

rs and prevent reconnaissance

s came to U.S. Army Rangers

ross the beach and climb the

o big guns positioned to the fire

t the beach,they got the evil

[Grandad] said.

Casualties, the Rangers eventu-

f the cliffs only to find that the

aken the guns down.

they and other units encoun-

re trapped among defensive

to have been cleared from the

[DONE WITH CUT OFF COLUMN, BACK TO NORMAL]

it," said Finke, whose father had come to the United States to learn the cotton business, was born in Mississippi but grew up in Germany. He returned to the United States in his teens and joined the U.S. Army.

Although his cousin was a major general in the German army, Finke said there was no question of loyalty to the Allies.

"As far as I was concerned, I was fighting for the U.S. and their cause. I hated Hitler. I detested him. I just kept quiet how I felt. There was no sense in starting a family feud," Finke said.

Although his father never left Germany and died be3fore his son fought in World War II, Fike said he would have been pleased that he fought for the Allies.

As commander of the 16th Infantry's F Company, Finke hid the fact that he had fractured his ankle days before the invasion, and he boarded the ship with his troops.

At 33, Finke was at least 10 years older than most of the soldiers, who saw him more as a father figure than a commanding officer.

For Finke, that underscored his responsibility to his troops on D-Day -- the day they would need him most.

"We just kept quiet about it," he said of his ankle. "nNo one wanted me to not be there. If I hadn't come, that company wouldn't have functioned very well. If I hadn't have gone, they would have felt betrayed."

Sitting in his home recently at The Fairfax retirement community at Fort Belvoir, Finke recalled with emotion a major who avoided D-Day with claims of a back injury.

[BACK TO STUFF ABOUT MY GRANDAD, NEXT COLUMN]

"to avoid the gunfire, the navy r____ and mistakenly dropped the ramp into the ocean. Thirty-five of the 102 men on board were killed just getting off the boat, [Grandad] said.

"People went in all directions," he said. "They were jumping in water clear up to their necks with 109 pounds on their backs, going this way and thatt to avoid fire."

When he saw what was happening, [Grandad] and three others jumped off the side of the boat into the ocean.

All around them the water turned red from the dead soldiers, some of whom served as cover for the living. The wounded, some with limbs torn off, lay next to them, screaming for help.

In war, [Grandad] said, "They don't scream like they normally would. They scream for their mothers."

Looking back out to sea, the soldiers could see other disasters. A battalion with 16 Double Dry tanks struggled with floatation devices and padded propellers that wouldn't hold up in the choppy water.

"Look at the tanks out there! Look at what the 735th is doing!" [Grandad] recalled the soldiers yelling. "All 16 sunk to the bottom. We knew all of them."

With fire spitting all around them, [Grandad] and the other three made their way to the beach, taking cover behind sand dunes to catch their breath.

From behind a dune being battered on both ends, [Grandad] directed the men to go single-file over the top. After several minutes, [Grandad] made his way over the dune. When he got to the other side, he found the three men lying dead in front of him.

As he climbed the dune, machine gun fire tore ... [Please see D-DAY, A9]

Damn I want to know what happened next!

James.

Alexandria Journal, newspaper article.

from Dad.

Normandy, Nanny and Grandad's house, Alexandria, Virginia, France.

June 3, 1994.

... Read my blog at ClintJCL.wordpress.com

James Bernard L, my grandfather (dad's dad). Born 2/18/1922 in Fairmont, WV. Died 12/18/2001 in Arlington, VA.

Son of James and Minnie

Husband of Maria Clara ("Ronnie")

Father of Victor (dad)

Brother of Arnold Ray, Lena May and Charles

James Bernard L was a long-serving member of the 16th Infantry Regiment, 1st Division, and its Association. He joined the National Guard in 1936, then the 16th Infantry in 1940 at Fort Jay, New York. In the Allied landings in Africa in November, 1942, he was the Regimental Sergeant Major. He fought in Sicily and later, in the Normandy Invasion, as a Warrant Officer under General Omar Bradley. He continued with the 16th Infantry through France, the Battle of the Bulge, Germany and Czechoslovakia, earning a Silver Star.

After the war, he served at Fort Knox, Kentucky, the Joint Chiefs of Staff in the Pentagon, Fort Shafter, Hawaii, Ft. Sam Houstin in San Antonio, TX, and the Adjutant Generals School, Fort Benjamin Harrison, Indiana, where he retired in 1960 as a CWO-4.

James then became one of the strongest supporters of the Regimental Association, writing many articles and booklets produced by the Association, and was a contributor, editor, and participant in the production of the recent volume of the regiment's history, "Blood and Sacrifice."

James was also an avid flag collector and member of NAVA, and a longtime philatelist.

Ronnie L, born Maria Clara Rechen, is Clint's grandmother (dad's mom). Born 10/25/1918 in Lvov, Poland. Died 11/13/2003 in Alexandria, VA.

Daughter of Jozefa and Jacob, she was the only survivor of the holocaust in her family. She was liberated from a work camp by Clint's grandfather (James Bernard L.), who stormed Normandy 20 minutes into the D-Day invasion.

at the 2016 Teen Choice Awards Backstage Creations Gifting Suite #TeenChoice - DSC_0340 by Red Carpet Report on Mingle Media TV

www.redcarpetreporttv.com

Mingle Media TV and Red Carpet Report host Denise Salcedo were invited to stop by the Backstage Creations Retreat at Teen Choice 2016 where the stars were thanked for their support of the awards show backstage during the show. The celebs were also given the opportunity to select specific gifts they wished to receive from participating donor companies.

Check out the brands that were in this year’s Celebrity Retreat™

· ACTON Blink Board – Teen Wolf star, Tyler Posey, was thrilled to receive an ACTON Blink Board. He said, “This is so awesome! I love skateboarding, so I’ll definitely be taking this for a ride.” www.ACTONglobal.com

· Anki OVERDRIVE – Black-ish star, Marsai Martin, loved the Anki OVERDRIVE so much, she said, “I am playing this at home. Round 2 is so happening.” Keegan Michael Key commented on how amazing the technology was and Girl Meets World’s August Maturo turned to his mom and said, “I want to play this all night, Mom!” www.anki.com

· HaulsTV – Fuller House’s Michael Campion checked out the HaulsTV app and said, “That’s an awesome idea. I’m liking it.” Actor, Clayne Crawford, also liked the app, stating, “That’s the future.” www.hauls.com

· Healthy Craft Services – Jane the Virgin star, Gina Rodriguez, thought the snacks & drinks by Healthy Craft Services were delicious and said, “Oh my gosh, I want you guys on our show!” Anthony Anderson also enjoyed the healthy treats, claiming, “I’m ready to go vegan again thanks to Healthy Craft Services!” He took a bunch of snacks and other goodies with him and said, “I’m taking these to set tomorrow!” www.healthycraftservices.com

· JCPenney – The Fosters’ Sherri Saum loved her camouflage Arizona Women’s Twill Anorak jacket, stating “I love the camouflage pattern! This is so comfortable!” Fuller House’s Michael Campion freaked out when he was given an Xersion Lightweight Full-Zip Tricot jacket and said, “I love jackets!” www.JCPenney.com

· MCFADIN – Modern Family’s Sarah Hyland was so excited to see MCFADIN in the retreat. She mentioned that she has a MCFADIN leather shave kit and uses it all the time when she travels! Jane the Virgin star, Gina Rodriguez, also loved the leather goods and said, “I love fringe!” www.MCFADIN.com

· Merge VR Goggles - After trying the Merge VR Goggles, The Fosters’ Sherri Saum exclaimed, “Where were these when I was a kid?! Amazing!” Teen Choice host, Victoria Justice, also loved the virtual reality goggles and commented on how comfortable they are. www.MergeVR.com

· Segway miniPRO – When Modern Family star, Sarah Hyland, won a new Segway miniPRO, she was shocked. She said, “Oh my gosh, I never win anything! Are you sure this is a W and not an L?!” Actress, Gina Rodriguez, also won a Segway miniPRO and was equally as surprised. She exclaimed, “I can’t believe I won!” www.SegwayminiPRO.com

· ThinkGeek Star Wars R2-D2 Bluetooth Speakerphone – Fuller House’s Michael Campion saw the R2-D2 speaker by ThinkGeek and was so excited. He said, “You don’t understand. I love ThinkGeek!” www.thinkgeek.com/product/ilro/

Celebrities also walked away with a gift bag filled with the following:

· Abella Skin Care, Inc – ColorShade SPF 35 is the perfect combination of broad spectrum sunscreen, color and moisture available in 4 different tints to accommodate any skin type. www.abellaskincare.com

· Hasbro - Standing nine inches tall, these DREAMWORKS TROLLS dolls feature fluffy, fabulous TROLLS hair and removable outfits for oodles of hairstyling and high fashion fun! Collect six characters including POPPY, BRANCH, HARPER, GUY DIAMOND, MADDY, and DJ, each sold separately. www.hasbrotoyshop.com

· Hempz – NEW! Hempz Daily Herbal Body Moisturizer and Dry Oil Body Spray with Broad Spectrum SPF 30 are lightly scented, weightless daily moisturizers that help hydrate, protect and improve skin’s overall health and appearance. Enriched with 100% Pure Natural Hemp Seed Oil and our Signature Citrus Fruit Complex, these perfectly-balanced formulas not only moisturize the skin, but also help protect against the effects of daily elements and sun exposure. www.hempz.com

· Iceland Glacial – Natural spring water from Iceland. www.icelandicglacial.com

· Kathryn Orford’s Become your #1 Fan: How to Silence your Inner Critic and Live the Life of your Dreams – Finally after all the buzz on “The Law of Attraction”, Kathryn Orford gives us the missing link; the real “secret” to manifesting all of our dreams. This book is a game changer - Dr. Sugar Singleton Marcy, Cellular Memory Expert, Author and International Speaker www.kathrynorford.com

· Lipault – 30” wheeled duffle. Lightweight and foldable, the Lipault wheeled duffle folds flat for easy storage. www.lipault-usa.com

· Pixels – Pixels has revolutionized the way that artwork, home décor and apparel are bought and sold around the world. With a few clicks, artists and photographers can upload their images to Pixels, set their prices for all of our available products and instantly sell to a global audience of online buyers. www.Pixels.com

· Red Coat PR - Featuring best-selling Young Adult authors in multiple genres including; romance, fantasy, steam punk, paranormal and horror. Available in print and at all major e-book platforms. www.redcoatpr.com/teenchoice2016/

· Thera Cane MAX Trigger Point Massager – Treat yourself to deep relief from painful, knotted, spasmed muscles. This amazingly simple yet effective self-massager makes it easy to apply pain-relieving deep compression directly to hard, knotted "trigger points" anywhere they occur - breaking up tension even in the hardest-to-reach muscles between your shoulder blades! www.theracane.com

· The Zeitgeist – The Zeitgeist is a contemporary brand that celebrates everything of the now. The first line of graphic tees includes exercise, humor, and definition collections. www.thezeitgeist.com

This year’s Celebrity Retreat™ was created and styled by Josh Johnson Home. Josh provided a luxurious and stylish backdrop for celebrity guests to mingle while they perused the products and lounge within his custom designed vignette. Based both in West Hollywood and Nashville, Josh’s lovable personality earned him the nickname “Sparkle Josh” and the title of Fan Favorite during the second season of HGTV's Design Star, and he also appeared in the Design Star “All Stars” series. Additionally, Josh is thrilled to announce the recent release of his premier line of signature home decor products nationwide. www.facebook.com/SparkleJoshJohnson

For video interviews and other Red Carpet Report coverage, please visit www.redcarpetreporttv.com and follow us on Twitter and Facebook at:

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About BACKSTAGE CREATIONS:

Created in 2000 by Karen Wood; formerly a talent coordinator on over 50 award shows, to give major corporations as well as up-and-coming designers the exclusive opportunity to personally introduce their products and services to celebrities. BACKSTAGE CREATIONS originated the gifting Retreat™ concept and has created Celebrity Retreats™ at various industry honors including the Emmy Awards®, Screen Actors Guild Awards®, Teen Choice Awards, MTV Awards, People’s Choice Awards, BET Awards and Billboard Music Awards. BACKSTAGE CREATIONS puts an emphasis on charitable donation at each of our Retreats™ giving our celebrity attendees the opportunity to both give and receive through unique partnerships at our events. Backstage Creations Retreats™ and gift bags have been featured on Entertainment Tonight, Extra, E!, TV Guide and our clients appear in OK Magazine, People.com, Us Weekly, HollywoodLife.com, Just Jared and many other print and online publications. For more information, go to www.backstagecreations.com

About TEEN CHOICE 2016:

TEEN CHOICE 2016 is executive-produced by Bob Bain and Michael Burg. Paul Flattery and Kelly Brock serve as producers and Greg Sills serves as supervising producer. “Like” TEEN CHOICE 2016 on Facebook at facebook.com/TeenChoiceAwards. Follow the action on Twitter @TeenChoiceFox and join the discussion at #teenchoice. See photos and videos on Instagram by following @teenchoicefox.

For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:

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Follow our host Denise on Twitter at twitter.com/_DeniseSalcedo

Anki Overdrive at the 2016 Teen Choice Awards Backstage Creations Gifting Suite #TeenChoice - DSC_0347 by Red Carpet Report on Mingle Media TV