tag:blogger.com,1999:blog-21676505478511384612024-03-19T02:55:01.376+00:00À Procura de Oz...Novas Tecnologias ArtísticasAquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.comBlogger173125tag:blogger.com,1999:blog-2167650547851138461.post-5437856470016989152013-01-10T16:11:00.000+00:002013-01-10T16:11:13.174+00:00Daniel Rozin's "Snow Mirror"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NHMNNOrlvr1z5tiPYyM1g6WvqJFJhVh-De-cI-nAE-T71KbWH262sPJc0nsUnMoLYI2hU417Zj3vE4qQWCGBotKjL_11HTK-T4-IzJ3Elxz9SSRtrjXibiMCCW8FiuAccWDSrGRMEpA8/s1600/Visitors+enjoying+%27Snow+Mirror%27+by+Daniel+Rozin+Photo+%C2%A9+Liza+Lemsatef+Cunningham.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NHMNNOrlvr1z5tiPYyM1g6WvqJFJhVh-De-cI-nAE-T71KbWH262sPJc0nsUnMoLYI2hU417Zj3vE4qQWCGBotKjL_11HTK-T4-IzJ3Elxz9SSRtrjXibiMCCW8FiuAccWDSrGRMEpA8/s640/Visitors+enjoying+%27Snow+Mirror%27+by+Daniel+Rozin+Photo+%C2%A9+Liza+Lemsatef+Cunningham.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.smoothware.com/danny/" target="_blank">Daniel Rozin</a>, <a href="http://www.smoothware.com/danny/snowmirror.html" target="_blank"><i>Snow Mirror</i></a>, 2007<br />
Computer, custom software, video camera, projector, silk<br />
variable dimensions<br />
edition of 6<br />
Visitors enjoying <i>Snow Mirror</i> by Daniel Rozin. Photo © Liza Lemsatef Cunningham </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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"For more than a decade <a href="http://www.smoothware.com/danny/" target="_blank">Rozin’s art</a> has employed a wide range of materials including chrome spheres, flat wood panels, and city trash from the streets of New York. Software art that links screen-based performance with real-time video processing has been another focus of Rozin’s efforts since the mid-1990s. The <i><a href="http://www.smoothware.com/danny/snowmirror.html" target="_blank">Snow Mirror</a></i>, which uses an artist-authored algorithm that floats site-specific visual imagery of the immediate past into the present, hovers in the gallery mid-air as a projection on silk fabric."</div>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="480" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/7819252?title=0&byline=0&portrait=0" webkitallowfullscreen="webkitallowfullscreen" width="640"></iframe></div>
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"Floating in space is a translucent screen, upon which is projected a monochromatic image of falling pixels, falling gently, uniformly, endlessly. Like the ‘static’ on the screen of a disconnected television, it gently goes about it’s business, seemingly demanding little other than for us to acknowledge it’s presence. We are free to move around the screen, behind, to the side, from afar. Then, before we move on we give the piece a final moment, we stand four square in front of it as if to say goodbye and we begin to notice something different, an outline of a figure, life size, begins to emerge. It sways gently, moves furtively and then the penny drops, the said figure is an outline, a digital shadow of ourselves. We instinctively begin to gently lift our arms, to allow the snow settle upon our limbs like radioactive snow." <a href="http://www.corridor8.co.uk/online/shadowing-dark-matters/" target="_blank">[Bryony Bond, <i>Shadowing Dark Matters</i>]</a>Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-89010393938055072572013-01-09T12:36:00.000+00:002013-01-09T14:36:46.447+00:00"The Art of Creative Coding"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NHMNNOrlvr1z5tiPYyM1g6WvqJFJhVh-De-cI-nAE-T71KbWH262sPJc0nsUnMoLYI2hU417Zj3vE4qQWCGBotKjL_11HTK-T4-IzJ3Elxz9SSRtrjXibiMCCW8FiuAccWDSrGRMEpA8/s1600/Visitors+enjoying+%27Snow+Mirror%27+by+Daniel+Rozin+Photo+%C2%A9+Liza+Lemsatef+Cunningham.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1NHMNNOrlvr1z5tiPYyM1g6WvqJFJhVh-De-cI-nAE-T71KbWH262sPJc0nsUnMoLYI2hU417Zj3vE4qQWCGBotKjL_11HTK-T4-IzJ3Elxz9SSRtrjXibiMCCW8FiuAccWDSrGRMEpA8/s640/Visitors+enjoying+%27Snow+Mirror%27+by+Daniel+Rozin+Photo+%C2%A9+Liza+Lemsatef+Cunningham.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Visitors enjoying <i>Snow Mirror</i> by Daniel Rozin. Photo © Liza Lemsatef Cunningham </td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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"Once purely functional, artists have begun to use coding as their medium for creating anything from computer generated art to elaborate interactive installations. Off Book takes a look inside one of today's nerdiest artforms, creative coding." <a href="http://devour.com/video/the-art-of-creative-coding/" target="_blank">[Devour]</a> <br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" src="http://www.youtube.com/embed/eBV14-3LT-g?list=PLC3D565688483CCB5" width="640"></iframe></div>
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"Programming plays a huge role in the world that surrounds us, and though its uses are often purely functional, there is a growing community of artists who use the language of code as their medium. Their work includes everything from computer generated art to elaborate interactive installations, all with the goal of expanding our sense of what is possible with digital tools. To simplify the coding process, several platforms and libraries have been assembled to allow coders to cut through the nitty-gritty of programming and focus on the creative aspects of the project. These platforms all share a strong open source philosophy that encourages growth and experimentation, creating a rich community of artists that share their strategies and work with unprecedented openness."</div>
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<a href="http://libcinder.org/" target="_blank">Cinder</a> // <a href="http://processing.org/" target="_blank">Processing</a> // <a href="http://www.openframeworks.cc/" target="_blank">openFrameworks </a>Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-5412429027045743102012-12-24T16:01:00.003+00:002012-12-24T16:01:42.602+00:00Boas Festas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7YvXy__y-Wa0hqWBBC4ViD5tuvcUL7GewqPx3wQC7vThw4tSuXJUWr6d_KVOYOe1m7G5l9ACdGkFTBOFn3M-NHRs8XL6E1gzNOtFnb4TwjZsapAdT9kIAC-THchetIJz8DEclNt3xVer6/s1600/card03.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7YvXy__y-Wa0hqWBBC4ViD5tuvcUL7GewqPx3wQC7vThw4tSuXJUWr6d_KVOYOe1m7G5l9ACdGkFTBOFn3M-NHRs8XL6E1gzNOtFnb4TwjZsapAdT9kIAC-THchetIJz8DEclNt3xVer6/s640/card03.gif" width="640" /></a></div>
<br />Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-34324838162598275002012-11-22T18:04:00.000+00:002012-11-22T18:04:38.851+00:00"Alfred Stieglitz: The Eloquent Eye"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3ovNJGtLQJzQZIhRxSPWgj_retJwx0WrPPHgWEpNMBTdEHY_DM-tyQy7kwcDS52ZpB2koKBGOJhUZKsD1BgJON8CNR1pBHUDMHGe9NpBfJpBpgqTAC9P-MsQhLumT3IdYIeINo5jkrbB/s1600/georgia-okeeffe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3ovNJGtLQJzQZIhRxSPWgj_retJwx0WrPPHgWEpNMBTdEHY_DM-tyQy7kwcDS52ZpB2koKBGOJhUZKsD1BgJON8CNR1pBHUDMHGe9NpBfJpBpgqTAC9P-MsQhLumT3IdYIeINo5jkrbB/s640/georgia-okeeffe.jpg" width="515" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alfred Stieglitz<br />
<em>Georgia O’Keeffe: a portrait</em>, 1918<br />
Platinotipo, 24.6 cm x 19.7 cm<br />
The Jean Paul Getty Museum<br />
<strong>©</strong> Jean Paul Getty Trust</td></tr>
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"... much has happened in photography that is sensational, but very little that is comparable with what Stieglitz did. The body of his work, the key set - I think - is the most beautiful photographic document of our time." [Georgia O’Keeffe, 1978]</div>
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Documentário da série da PBS <em>American Masters</em>.</div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-8233827493519228302012-11-17T00:12:00.001+00:002012-11-17T00:26:06.851+00:00"Gregory Crewdson: Brief Encounters"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kovrM7QSYlTNIDUAlBES41wBwL1mVs4cV2jchK0mSS2qdJ89ISblUhDdP0P5dh9ilMuh1oC3giUAg7YW81gYaJkdcdYdGOLKWeKaw0yAvXVf-ml3Q633hY4DRSEZqGFgTit2oWksyu3c/s1600/gregory-crewdson-2005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8kovrM7QSYlTNIDUAlBES41wBwL1mVs4cV2jchK0mSS2qdJ89ISblUhDdP0P5dh9ilMuh1oC3giUAg7YW81gYaJkdcdYdGOLKWeKaw0yAvXVf-ml3Q633hY4DRSEZqGFgTit2oWksyu3c/s640/gregory-crewdson-2005.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gregory Crewdson<br />
<em> Untitled (Sunday Roast), </em>da série <em>Beneath the Roses</em>, 2005<br />
Digital carbon print, 144.8 cm x 223.5 cm<br />
Gregory Crewdson, Courtesy Gagosian Gallery, New York<br />
© Gregory Crewdson</td></tr>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="338" mozallowfullscreen="mozallowfullscreen" src="http://player.vimeo.com/video/31567427?title=0&byline=0&portrait=0&badge=0" webkitallowfullscreen="webkitallowfullscreen" width="600"></iframe><br /></div>
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"Ben Shapiro follows acclaimed photographer Gregory Crewdson’s decade-long quest to create a series of haunting, surreal, and stunningly elaborate portraits of small-town American life - perfect renderings of a disturbing and imperfect world." </div>
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Mais informações <a href="http://www.gregorycrewdsonmovie.com/">aqui</a>.</div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-3898979335693385452012-11-10T15:25:00.000+00:002012-11-10T15:27:03.731+00:00"The Woodmans"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ysOlke173oOxwH1vFPQ_TIbOptOiM1p8uH08XPdq2sKHXX_IgiMTRXgGF4D3Y3AzmX-YdxoqM3sO-9qM1iDKVbQ6FKvE-LO4URjrDTe09jTFxFU4L4b__08APk2DawsVZOQiJ90nTYas/s1600/Francesca+Woodman+and+George_72dpi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ysOlke173oOxwH1vFPQ_TIbOptOiM1p8uH08XPdq2sKHXX_IgiMTRXgGF4D3Y3AzmX-YdxoqM3sO-9qM1iDKVbQ6FKvE-LO4URjrDTe09jTFxFU4L4b__08APk2DawsVZOQiJ90nTYas/s640/Francesca+Woodman+and+George_72dpi.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Francesca Woodman<br />
<em>Untitled</em> (Portrait of Francesca Woodman and her father George Woodman)<br />
1980, New York<br />
© George and Betty Woodman</td></tr>
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"<em>The Woodmans</em> is an inspiring portrait of one family's fall and redemption in the often brutal world of art. Family patriarch George is a professor and painter. Wife and mother Betty is a ceramicist who earns her own show at The Met. Charlie, their son, is a video artist. Most highly regarded is Francesca, their daughter, one of the late 20th century's most recognized photographers, whose fame came after a tragedy that would forever scar the family."<br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="338" src="http://www.youtube.com/embed/qu9LSFFnn54" width="600"></iframe><br /></div>
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Mais informações <a href="http://www.thewoodmansmovie.com/" target="_blank">aqui</a>.</div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-88283678436463991502011-11-17T16:41:00.008+00:002012-11-06T13:20:36.436+00:00s [edition]<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0O4E-kRM4msWKWiTyfaNJYbANTY4oViovAIVEzAx5RxAa5_pMQr4Tm3ww4TAeMamDnEZFFi1BnnTbiaw-jAZVyrlq6J_JFsQvXRn428GmrTisHCYEUjuN63VVxjfGeF7ws_3-9sQAWEu9/s800/s_editions_01.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" height="579" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0O4E-kRM4msWKWiTyfaNJYbANTY4oViovAIVEzAx5RxAa5_pMQr4Tm3ww4TAeMamDnEZFFi1BnnTbiaw-jAZVyrlq6J_JFsQvXRn428GmrTisHCYEUjuN63VVxjfGeF7ws_3-9sQAWEu9/s640/s_editions_01.jpg" style="height: 543px; width: 600px;" width="640" /></a></div>
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Mais informações em <a href="http://www.seditionart.com/signup" target="_blank">s [edition]</a>Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com4tag:blogger.com,1999:blog-2167650547851138461.post-59749661665117991852011-10-09T17:50:00.002+01:002012-11-06T13:34:03.552+00:00Looking Back On Larry Sultan's "Pictures From Home"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hR-Yp83oKmz5UQsvvF7-vinnvngRkk1OrDRqu7CUR96TZ5-m_pwNiGsbx8upTJDwoGYO23SiCrsaWJp4aMREpZ-lj_rwwnHDwDyIQ7ik_9aRtOOULWZci0LAhVO0lM605Nhyphenhyphen6TrbRF7a/s800/larry%252520sultan_pictures%252520from%252520home.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="523" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hR-Yp83oKmz5UQsvvF7-vinnvngRkk1OrDRqu7CUR96TZ5-m_pwNiGsbx8upTJDwoGYO23SiCrsaWJp4aMREpZ-lj_rwwnHDwDyIQ7ik_9aRtOOULWZci0LAhVO0lM605Nhyphenhyphen6TrbRF7a/s640/larry%252520sultan_pictures%252520from%252520home.jpg" style="height: 491px; width: 600px;" width="640" /></a><br />
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Larry Sultan, <em>Golf Swing</em> da série "Pictures from Home".<br />
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<embed allowfullscreen="true" base="http://www.npr.org" height="386" src="http://www.npr.org/v2/?i=121605471&m=121611083&t=audio" type="application/x-shockwave-flash" width="400" wmode="opaque"></embed><br />
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A transcrição da entrevista pode ser consultada <a href="http://www.npr.org/templates/transcript/transcript.php?storyId=121605471" target="_blank">aqui</a>.<br />
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Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-66754683045968579592011-03-22T16:00:00.002+00:002012-11-06T16:21:46.228+00:00“¿Por qué desaparecieron los dinosaurios?”<div class="separator" style="clear: both; text-align: center;">
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"¿Por qué desaparecieron los dinosaurios? Fue concebido para la categoría 'Starlight' del Notodofilmfest, que trata sobre la contemplación del cielo y las estrellas. Siempre nos ha fascinado, y es un tema recurrente en nuestras conversaciones, la idea de que cuando miras a una estrella, no estás viendo a esa estrella tal y como es ahora, si no que dependiendo de la distancia a la que esté, puedes estar viendo cómo era la estrella hace 10 años, hace 100 años... Puede que esa estrella ya no exista, y que lo que estemos viendo no sea más que la luz que envió al espacio hace millones de años. Basándonos en esta idea, pensamos cómo sería posible contemplar la tierra desde una distancia tal que nos permitiera ver su pasado, ver a los dinosaurios, a los romanos, a nuestros abuelos. Pasamos por varias hipótesis físicamente imposibles hasta que llegamos a la idea de los planetas espejo, que aunque poco probable, es posible, y que además nos pareció muy poética.<br />
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El Notodofilmfest ha sido para nosotros la puerta al mundo de los cortometrajes. En la octava edición del festival ganamos el premio 'Los goyita' con una versión de un minuto de la película de Isabel Coixet "Mapa de los sonidos de Tokio". Ganar este premio nos hizo plantearnos que se podía vivir de los cortos. Después de participar en la novena edición con cinco cortometrajes, decidimos montar una productora audiovisual, Nivelnueve. Seguimos y seguiremos participando en el Notodofilmfest, y recomendamos a todo el mundo que lo haga."<a href="http://www.rtve.es/alacarta/videos/decimo-aniversario-del-notodofilmfestcom/desaparecieron-dinosaurios-mar-delgado-esau-dharma-2011/1411455/" target="_blank">[Mar Delgado y Esaú Dharma]</a></div>
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Esaú Dharma e Mar Delgado, <i>¿Por qué desaparecieron los dinosaurios?</i>.</div>
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Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-76462067878094779892011-03-09T18:56:00.003+00:002012-11-06T16:39:29.156+00:00reGeneration2 - Tomorrow's Photographers Today [Portraiture]<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyCdBmARaxgqjWhnn9bLLZSUIkKm3MwZNYYkrK735h6PeWt0DURW2nqs3zv0B6PTnvNZe9UdUma6Mb7QG7AGzdJ5E6WESXNfFqwzEjXvbJagKHEPE_BOl9-02rqzbETmD7cElGicIgSVls/s1600/ARLMSC1903pn.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyCdBmARaxgqjWhnn9bLLZSUIkKm3MwZNYYkrK735h6PeWt0DURW2nqs3zv0B6PTnvNZe9UdUma6Mb7QG7AGzdJ5E6WESXNfFqwzEjXvbJagKHEPE_BOl9-02rqzbETmD7cElGicIgSVls/s640/ARLMSC1903pn.png" width="640" /></a></div>
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"Finnish photographer Nelli Palomaki explains how she tries to convey the magic of portraits from the past through her black and white portraiture. She has recently focused her work on children revealing their specific mood and their behaviors mirroring the ones of adults." <br />
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<span style="font-family: verdana;">"Adrian Wood presents the spirit of his work, his influences, and his interpretation of portraiture and stage photography. Wood centers his work on people, on their experience, and on their lives.</span>" <br />
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<object height="450" width="600"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=20082825&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=00ADEF&fullscreen=1&autoplay=0&loop=0"><embed src="http://vimeo.com/moogaloop.swf?clip_id=20082825&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=00ADEF&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="600" height="450"></embed></object> </div>
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<span style="font-family: verdana;">"Polish photographer Anna Orlowska explains how she stages her portraits from drawing a story board, finding the right subjects, to composing the scene. Orlowska touches on a particular series presented in the exhibition, The day before, where she presents her subjects in a "moment of suspension" in their ordinary routine when they realize a change is happening in their life."</span> <br />
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"Tehila Cohen explains how she involves her family in her work to reveal the identity of an Israeli family through spontaneous actions from the subjects and their environment."</div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-50490920915959228192010-12-03T16:54:00.005+00:002012-11-13T15:51:53.402+00:00Jean-Luc Godard<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.ecmrecords.com/News/Special_Offers/Special_89_Godard.php" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: 1em; margin-right: 1em;" target="blank"><img alt="" border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBwND_OyeHRy44LUjYO2Lv2WbGvRfZMQYUDWBam_d__di4osp9nZ_A9kwxQEtTmQj4jybIbl_N_4NAEQUMx19NYmYh3hlNTLkJwaE-GClceKdNEZo-qSfnJ-EXCelIR-dRP106WtVXW3KP/s640/Jean-Luc%20Godard_Anna%20Karina_1929.jpg" style="height: 410px; width: 617px;" width="640" /></a></div>
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<a href="http://www.ecmrecords.com/News/Diary/281_Godard_at_80.php?" target="_blank"><span style="font-size: x-large;">80</span></a></div>
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"Cinema is the most beautiful fraud in the world" Jean-Luc Godard</div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-67581999096878346722010-11-25T01:56:00.003+00:002012-11-06T16:46:26.314+00:00"Ensayo sobre la Mirada #3 - El Falsificador de Paisajes"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRn1s-bIRWtbInpyca6jJt_kLSYh83ZufolYPEQFXn1o96sDFnmH9IczjpUndZ_sHq5nITHvEWtBiVHUsW6fNVVB1zMmQR76V8EaXaqvaXjEwDG_XipL0OmIHFOY7l27qq0YQoRwGkwAT/s1600/daniel+cuberta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXRn1s-bIRWtbInpyca6jJt_kLSYh83ZufolYPEQFXn1o96sDFnmH9IczjpUndZ_sHq5nITHvEWtBiVHUsW6fNVVB1zMmQR76V8EaXaqvaXjEwDG_XipL0OmIHFOY7l27qq0YQoRwGkwAT/s640/daniel+cuberta.jpg" width="640" /></a></div>
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<br />
"The landscape faker is hiding somewhere between all these stones<br />
He makes calculations, measures distances<br />
Tries to understand all those colours<br />
He stops, comes closer to me and whispers in my ear:<br />
Where does it finish, where does the landscape start?<br />
He turns around to face it and adds:<br />
We won’t call the things by their names anymore, now we will call the names by their things<br />
I know this man doesn’t lie, he just plays ping pong with phrases without sense<br />
He says:<br />
Can’t stand watching sunsets on tv. I’ve had enough; televisions, radios, telephones and computers. I’m sick of electricity. Viva the Sun.<br />
The landscape faker says to me:<br />
Stand by me, together we will rescue all the ink from the bottom of the desert, and we will paint the ocean, the ocean at night.<br />
I listen to him, but I pretend I don’t, and I ask him:<br />
How can we paint the desert?<br />
He answers:<br />
At this point it will be enough if we find and give its own name to every stone. Then we will be able to call all the stones by their names.<br />
The world for him is composed of a series of fleeting moments of bliss, a lot of abandoned meanings that he seems to discover and carry home at the end of the day.<br />
I can see him seated in front of aquariums, for hours, looking for the proper order of the stones, the water and their light.<br />
Finally he changes the expression of his face and says:<br />
There is nothing left to gaze at, and my eyes hurt from being open. Everything remains the same, always, only mirrors change.<br />
The landscape faker makes calculations, measures distances<br />
Tries to understand all those colours<br />
He stops, turns around and whispers in my ear:<br />
Where does the landscape finish, where does it start?<br />
Don’t know where my days start, where they finish.<br />
I try to cheer him up<br />
I say:<br />
Even though your task is impossible it doesn’t mean you have to give it up and stop trying.<br />
He seems to recognize some sense in this phrase without any sense<br />
He turns to me and says:<br />
There is nothing left to gaze at, and my eyes hurt from being open.<br />
And he disappears. <br />
But I know the landscape faker is hiding somewhere between all these stones<br />
And I know his mood changes quickly and suddenly he can appear<br />
Come closer to me and whisper in my ear:<br />
Stand by me.” <a href="http://www.danielcuberta.com/" target="_blank">[Daniel Cuberta]</a> <br />
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Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com2tag:blogger.com,1999:blog-2167650547851138461.post-69020205943083937292010-10-26T15:01:00.006+01:002012-11-06T16:49:56.107+00:00Technarte 2011 - Call for Papers<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAy-1LWI-JFHM4g6smC1eyYb84dKCno52E4kY6EM5QiUY19VCL5rKzeqjxvOe3algW9XAkGNCpQRHxTzcNN-7HXkrcE-uf3xXhCyZXia5xa0mXsPI8-lVt1ASKL3Tg94KQLY4_UG3-P4Nc/s1600/tecnarte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAy-1LWI-JFHM4g6smC1eyYb84dKCno52E4kY6EM5QiUY19VCL5rKzeqjxvOe3algW9XAkGNCpQRHxTzcNN-7HXkrcE-uf3xXhCyZXia5xa0mXsPI8-lVt1ASKL3Tg94KQLY4_UG3-P4Nc/s640/tecnarte.jpg" width="640" /></a></div><br />
"Technarte is an international conference on art and technology that has been taking place in Bilbao from 2006. After six editions, Technarte has become one of the most important events of its kind in Europe.<br />
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The main aim of Technarte is to present technological developments that enhance a broader expression of modern art, and to provide a forum for debate and reflection on the convergence between technology and art.<br />
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In Technarte, the interaction between Technological Innovation and Contemporary Art applies to reality; the state-of-the-art technological innovations allow artists to explore endless possibilities; and the technological society uses the creativity of the artists as an inspiration to new technological projects."<br />
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Mais informações, <a href="http://www.technarte.org/?lang=en/" target="_blank">aqui</a>.Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-73437143454225766042010-10-25T02:16:00.007+01:002012-11-10T02:32:39.183+00:00Off to Doc<br />
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Peter Whitehead, <em>Tonite let's all make love in London</em>, 1967. <br />
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<a href="http://shop.vendio.com/HARDTOFINDFILMS/item/820906140/index.html" target="_blank">FOUND!</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCGEvpYYVRJrgyCPL2291ydUI1P1J-zIQh9W-IABP90COIEZMAQprfwdhPMPlxUfwKlDPRA3QSgPvzxxFtKtUiA-fkG0swQg9t9kufGcgFq5y4AeNfylLqLCTIrYEeR7iFQ94USpFyB0y1/s1600/31311.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCGEvpYYVRJrgyCPL2291ydUI1P1J-zIQh9W-IABP90COIEZMAQprfwdhPMPlxUfwKlDPRA3QSgPvzxxFtKtUiA-fkG0swQg9t9kufGcgFq5y4AeNfylLqLCTIrYEeR7iFQ94USpFyB0y1/s640/31311.jpg" width="606" /></a></div>
Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-64870694400466416682010-10-22T14:03:00.003+01:002012-11-07T20:35:41.280+00:00Genial<div class="separator" style="clear: both; text-align: center;">
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Foi muito bom. Já estão online <a href="http://www.youtube.com/play" target="_blank">excertos da bienal</a>.Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-70275094261143250722010-10-21T15:56:00.005+01:002012-11-10T02:31:56.283+00:00Hoje queria estar em Nova Iorque [só hoje]<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLM_u1Qob521gOFP4UZKVbEzgeTWYt9d1mXRZzSwGr-bLM86Zi35FcAZ8Equ40xh20eZNSMRcXOOD4JG59ptT4Jn8LrWDRDj0zijYMwiMXT73tF1dGQGBscaXWPcOXW71CYc2RFqdzeKUL/s1600/youtubeplay_srgug.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLM_u1Qob521gOFP4UZKVbEzgeTWYt9d1mXRZzSwGr-bLM86Zi35FcAZ8Equ40xh20eZNSMRcXOOD4JG59ptT4Jn8LrWDRDj0zijYMwiMXT73tF1dGQGBscaXWPcOXW71CYc2RFqdzeKUL/s640/youtubeplay_srgug.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© Solomon R. Guggenheim Museum</td></tr>
</tbody></table>
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<div style="text-align: center;">
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<br />
"Tune in to <a href="http://youtube.com/play" target="_blank">Youtube Play</a> at 8pm ET (New York) for the full live streamed event! Music, collaborations, art and incredible video. This video is just a taster of the exterior projections, on the facade of the Guggenheim Museum in New York.<br />
<br />
YouTube Play: Live from the Guggenheim will celebrate the 25 videos selected by the jury for YouTube Play: A Biennial of Creative video.<br />
<br />
8pm ET (New York)<br />
1am (Oct 22) London<br />
2am CET - Paris, Amsterdam, Madrid, Berlin, Rome<br />
4am Moscow<br />
9am Tokyo<br />
11am Sydney"Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com2tag:blogger.com,1999:blog-2167650547851138461.post-22541074348934335452010-10-08T21:48:00.003+01:002012-11-06T17:19:04.883+00:00"Flux" - Candaş Şişman<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40rrmWzNjf7wwvG0bkqCvKtBuPnrXm6RRg8CeK36nOeNKKtHF4ig_OwyBy8gMkoR_lRCJ02ZxGvM6onZXrxpwJVCrVLli3SUL-9_liM7lNjJv6PeTT878fYbHxfb3YEK_qTSTM8954V1I/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj40rrmWzNjf7wwvG0bkqCvKtBuPnrXm6RRg8CeK36nOeNKKtHF4ig_OwyBy8gMkoR_lRCJ02ZxGvM6onZXrxpwJVCrVLli3SUL-9_liM7lNjJv6PeTT878fYbHxfb3YEK_qTSTM8954V1I/s640/02.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">© <a href="http://www.csismn.com/filter/Motion#F-L-U-X" target="_blank">Candaş Şişman<strong></strong></a></td></tr>
</tbody></table>
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<div style="text-align: center;">
<object height="120" width="600"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=15395471&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=00ADEF&fullscreen=1&autoplay=0&loop=0"><embed src="http://vimeo.com/moogaloop.swf?clip_id=15395471&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=00ADEF&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="600" height="120"></embed></object></div>
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<br />
"Video dedicated to famous sculptor İlhan Koman produced for the exhibition İlhan Koman: Hulda Festival, a Journey into Art and Science opening on the 22nd September, 2010.<br />
<br />
İlhan Koman’s unique design approach in his form studies also inspires contemporary art works. The video installation Flux by young artist Candaş Şişman can be defined as a digital animation which is inspired from the structural features of some of İlhan Koman’s works like Pi, 3D Moebius, Whirlpool and To Infinity... A red circle, which is colored in reference to the red radiators of Ogre, is traced in a morphological transformation which re-interprets the formal approach of Koman’s works. The continuous movement sometimes connotes the formal characteristics of Pi, 3D Moebius, Whirlpool and To Infinity..., as well as the original formal interpretations of the design principles of the works . In Flux, Koman’s design process in the making of the Pi series has been treated as the emerging of a sphere from a two-dimensional circle by the principle of increasing the surface; and that simple direction is re-interpreted in digital medium. Thanks to this, in the digital animation an entirely different form serial that does not resemble Pi yet remaining its design principle can be followed through the flow of a circle to the sphere. As a conscious attitude of the artist, this work is not designed in a direct visual analogy with Koman’s works. During the animation, none of the moments of the transforming form look like Pi or 3D Moebius, however the subjective reading of Koman’s approach can be observed.<br />
<br />
With the integration of the sounds of various materials – which Koman used in his sculptures – Flux turns into an impressive spatial experience. Flux, also exemplifies that Koman’s work can be re-interpreted by the analysis and manipulation of form in the digital medium." Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-65212157330902370982010-10-01T13:20:00.007+01:002012-11-06T17:21:18.083+00:00RIP<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZtOaU7ceI700oOTMsR5YxLsG_JOMCZtWfmdyFAOSduVLy8iZ0XbeiJvBCNSaLuhN5e8PdkupLF5Y-z_ttIf_lzOh3hzxV6AdBDx6_uuJoI7BwBAvEADqfhukAtWZlO8irWAG6PivD9ziY/s800/300901.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZtOaU7ceI700oOTMsR5YxLsG_JOMCZtWfmdyFAOSduVLy8iZ0XbeiJvBCNSaLuhN5e8PdkupLF5Y-z_ttIf_lzOh3hzxV6AdBDx6_uuJoI7BwBAvEADqfhukAtWZlO8irWAG6PivD9ziY/s1600/300901.jpg" /></a></div>
<br /><br />Para o LL<br />a simplicidade e o silêncio<br /><br />Obrigada<br />
<br />[tanto que não disse]Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-73254061175876767452010-09-30T17:46:00.003+01:002012-11-06T17:30:03.152+00:00twenty120<div class="separator" style="clear: both; text-align: center;">
<a href="http://twenty120.com/" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: 1em; margin-right: 1em;" target="blank"><img alt="" border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHc0EY3aqlr2UzLM28lcKLIA_fdTJT3MuWAN5IOv_PD_qtnmI_u9AG62bhmi2pCP4qabS_17KhrEulEj-qYM45Vt39YudO5hnlyfurO6j3drYnKHtMGSt0laIucktvu2SMmAZwhRh_Nh_c/s640/twenty120.jpg" style="height: 450px; width: 600px;" width="640" /></a></div>
<br />
"<strong>Twenty120 Interview</strong><br />
<br />
<strong>Hey guys, so lets start with a little history. What are the origins of Twenty120? How did you come up with the current format of 20 directors creating 120 second animations?</strong><br />
<br />
<strong>Connor Swegle:</strong> Twenty120 got its start with Lori Pate. She had created a session at PromaxBDA that brought together twenty creative directors and offered them 120 seconds to talk about what inspired them. It was always a great session because it was completely open. It let people talk about forward-thinking ideas, creativity, and innovation. In 2007, I was able to pick up the project and continue its momentum. PromaxBDA is a great organization, and I always believed that there needed to be a forum for people who were doing interesting original work. There were so many people doing creative work outside of the scope of projects done for hire, I believed that creativity was what was inspires others- whether because you can see what people are doing and you advance it for yourself, or because of the positive creative ego that drives you to believe you can do something better. Either way, it is great for the community and I thought that we could create a place for that creative energy. There was also a place for that thinking at PromaxBDA because that work also has a profound impact on mass media- independent work always seems to find its way into being appropriated for commercials, videos, film, promos and marketing. <br />
<br />
<strong>Knowing what it can be like to undertake side work that is all for free, what made both of you decide to lead this project? What roles do you take on during the production of all the films (as well as the time between collections)?</strong><br />
<br />
<strong>CS:</strong> I have a strong belief that what the directors do as a part of twenty120 is a very pure craft. It takes time, dedication, professionalism, practice, and hard work. You have to not only be the person who can come up with an idea- there are a million of those hanging out around the world at bars, cafes, galleries, boutiques, at the Coffee Bean and Tea Leaf on Wilshire- but it is a special thing to be able to make those ideas real. To produce, finish them, and make them tactile. I wanted to lead the project to create an umbrella or a destination for this work. The first year I worked with Chuck Carey (Troika) and Crystal Hall (Showtime), and we busted our asses to make it happen in 6 weeks. I have been most officially curator and producer, but this includes prodder, designer (terribly), developer (hack-ily), and writer, and most importantly- fan. I am a huge fan of the creative process and the way the directors take something from their minds and turn it into something tangible. Into a short film.<br />
<br />
<strong>Rich Rama:</strong> What made me decide on helping on this project is really helping my friend out. The past few years I’ve seen Connor kill himself to get this done and he nearly does it all by himself. I loved the passion he had for this project and I knew he wanted to grow this every year. I also love what he was trying to do with it and I figured he shouldn’t do this alone so I offered up my help. My role really is to help come up with ideas to expand this collection. Somebody Connor can bounce ideas off of. I’m a cheerleader that comes in with positive energy. We also saw that we both are tapped into resources that could make it bigger with longer lasting power…haha…seriously.<br />
<br />
<strong>Twenty120 is in its third year. This whole project is done after hours and for free, which begs the question, what drives you to keep putting this series together?</strong><br />
<br />
<strong>CS:</strong> Again, it comes down to the creative process. I know that I can’t do what some of these directors do from a creative standpoint, but what I can do is bring together directors from around the world who share the goal of creating. I want other people to see this work and appreciate their vision. It is my way own of making an idea real. The directors inspire me and keep me to task.<br />
<br />
There is also the help from my work, Click 3x, who are flexible and supportive with the time/resources it takes, all the directors whose energy and efforts keep me to task, PromaxBDA, who present the collection and provide constant support and dedication to the creative craft, IdN who jumped on to distribute the collection, and publications/destinations like Motionographer who spread the word. This year, with Rich coming on, and having the same support from his team, we are able to work together, share ideas, and work as efficiently as possible to launch and share the collection. It isn’t often that competing companies share and support a vision, and we are lucky to have it.<br />
<br />
I won’t forget in 2006 standing around at Lucky Jacks in the Lower East Side, humbly pitching the project to Saiman Chow. I am nervously telling him about an idea to get 20 original films, each 120 seconds. As I wait for him to tell me I am an idiot, he looks over and says, “Sure let’s do it.” It was so casual and easy. I think at that point, I decided that it would be possible. That said, I am very much indebted to the directors for their hard work. Very indebted. It is inspiring.<br />
<br />
<strong>RR:</strong> The creativity that comes out of it. I think it’s interesting to come up with one common theme and see how some of these great creatives interpret that theme. There’s a great feeling of accomplishment not only for us, but for everybody involved. Let’s not get this completely twisted though…both of us do spend some time throughout the week working on this during office hours!!! We’re both extremely lucky to be working at companies (MassMarket & Click 3X) who are supportive with what we do. Love that plug for our companies??? But it’s true!!! They’re even our Primary Sponsors!<br />
<br />
<strong>What do you think drives the directors to take on a lot all the extra curricular work to be part of a projects like yours?</strong><br />
<br />
<strong>CS:</strong> Creative people have something inside them that drives them to make things. It is the same thing that keeps them from being bankers and accountants. It is also something that is developed and worked at over time. If you have that, even just a little bit of it, you want to be able to show it. It is also my goal that projects such as Twenty120 helps directors be paid for their work. I enjoy that hearing from directors that work done as part of the collection leads to a client project. <br />
<br />
<strong>RR:</strong> I think part of it is the trust these Director’s have in us to put something together that will be great that gets them introduced to the community and to the world. I think another part of it is the Director’s need for creative expression. There are many outlets for this type of expression and we’re lucky that some of them chose ours. <br />
<br />
<strong>Lastly, now that we know more about your collection, what do you think the future hold for Twenty120?</strong><br />
<br />
<strong>CS:</strong> The goal has always been to better the collection. Something people want to enjoy and want to be a part of. I look at “Change” and the site was dreadful (my fault), but the work was amazing. There isn’t one film I haven’t enjoyed and respected from the delivery of the first film. The future is one where we will remain dedicated to great creative work, and we are always looking for allies to be a part of the collection, and to help share it. Oh, and to get wealthy. Oh wait, if I wanted that, I’d probably do something where I wear a suit everyday. But, what fun would that be?<br />
<br />
<strong>RR:</strong> It’s something that Connor and I talk about all the time. We have some ideas brewing. We’re really trying to concentrate on making this year’s collection great. As long as we dedicate ourselves towards putting together a high leveled creative film collection, we see the future is bright." <a href="http://motionographer.com/twenty120-interview/" target="_blank">[Motionographer]</a><br />
<br />
Mais informação <a href="http://idnworld.com/books/?id=twenty120" target="_blank">aqui</a>.Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com2tag:blogger.com,1999:blog-2167650547851138461.post-18445798388481010652010-09-23T02:23:00.005+01:002012-11-06T17:37:39.146+00:00Art:21 - Memory<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzExN3wqkT7h__Z1fwNnCL7DhvCga_9ZUj32ARgrYNKn6x-j8t7KW3WRpzI_RT84WYYsKWzvMNkthWYs01Go7iazMsFM8V78kEovb6MNqiXIX0kFClfb0nU3Bd2LKre95Tl_che9qmqUVT/s1600/art21-logo-redraw-05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzExN3wqkT7h__Z1fwNnCL7DhvCga_9ZUj32ARgrYNKn6x-j8t7KW3WRpzI_RT84WYYsKWzvMNkthWYs01Go7iazMsFM8V78kEovb6MNqiXIX0kFClfb0nU3Bd2LKre95Tl_che9qmqUVT/s640/art21-logo-redraw-05.jpg" width="640" /></a></div>
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<div style="color: grey; font-family: Arial, Helvetica, sans-serif; font-size: 11px; margin-top: 5px; text-align: center; width: 512px;">
Watch the <a href="http://video.pbs.org/video/1239603168" style="color: rgb(78, 178, 254) !important; font-weight: normal !important; height: 13px; text-decoration: none !important;" target="_blank">full episode</a>. See more <a href="http://www.pbs.org/art21/" style="color: rgb(78, 178, 254) !important; font-weight: normal !important; height: 13px; text-decoration: none !important;" target="_blank">ART:21.</a></div>
<br />
"Program: ART:21<br />
Episode: Memory<br />
<br />
Artists explore how memory functions and how to frame the past in their work. Featuring artists Susan Rothenberg, Mike Kelley, Hiroshi Sugimoto, and Josiah McElheny, with an introduction by Isabella Rossellini and an original video artwork by Teresa Hubbard and Alexander Birchler."Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-90575638628545920602010-07-30T17:07:00.005+01:002012-11-06T17:39:19.262+00:00An Exchange with Sol Lewitt<br />
<div style="text-align: center;">
<a href="http://cabinetmagazine.org/events/lewitt.php" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" target="blank"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjgwmWWSwAFwfki4ZmCr8LWVBnwdZcdgKg4HDa-fiTp1XFDGMSiB_0T83DqRuXzr11o_ja6xRBwJUuEc098NB1k81hRxgVnUSyuWy2I4ImB4LSsCB2KQp0lFf9IPvKKw9FKfjMwJt1u70w/s800/lewitt_header_new2.jpg" style="height: 99px; width: 600px;" /></a></div>
<br />
<br /><br />"A two-part exhibition co-presented by MASS MoCA and Cabinet<br />Curated by Regine Basha<br />Cabinet: 20 January – 19 February, 2011<br />MASS MoCA: 22 January – 31 March, 2011<br /><br />The story of Sol LeWitt’s exchanges with other artists is by now widely known. Though most artists engage in this process at one point or another, LeWitt seemed fully committed to it as an artistic code of conduct, a way of life. Eva Hesse, Robert Mangold, Hanna Darboven, and Robert Ryman are just a few of LeWitt’s celebrated contemporaries with whom the artist exchanged works. Such exchanges were not limited to well-known artists, however: LeWitt consistently traded works with admirers whom he did not know but who had nevertheless sent their work to him, as well as amateur artists with whom he interacted in his daily life. LeWitt’s exchanges—he responded to every work he received by sending back one of his own—fostered an ongoing form of artistic communion and, in some cases, a source of support and patronage. The Sol LeWitt Private Collection retains all of the works he received, as well as a record of what he offered in return.<br /><br />For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice. In addition to encouraging the circulation of artworks through a gift economy that challenged the art world’s dominant economic model, LeWitt’s exchanges with strangers have the same qualities of generosity, and risk, that characterized his work in general. This kind of exchange was designed to stage an encounter between two minds, outside the familiar confines of friendship.<br /><br />If we consider the process of exchange as another of Sol LeWitt’s instructional pieces, then the rational (or irrational) thing to do is to continue to exchange work and ideas, if only symbolically, with him.<br /><br />This is a call to those who share an affinity with Sol LeWitt’s legacy as a conceptual artist, to those who knew him and those who did not — to anyone who has ever wondered, What would Sol LeWitt like?" <a href="http://cabinetmagazine.org/">[Cabinet Magazine]</a><br /><br />Mais informações, <a href="http://cabinetmagazine.org/events/lewitt.php">aqui</a>.Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-70715872505886663452010-07-24T17:43:00.000+01:002012-11-06T17:45:48.096+00:00Um livro lindo<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7xXsWa9Pmc5nVtikRRB2pAtW0GXr6Wo73enNJ3aZxOFIn0djUWsqmPSOVLcjq9gwtCN2yI2rheNM0ENdDzNoRBBA93vZR22Xp8VkGHjav_VFe6vm7oP-OUW6T-_DaSGzN-s4T7pClFhv/s800/sanguinetti_belinda_rosita_1998.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7xXsWa9Pmc5nVtikRRB2pAtW0GXr6Wo73enNJ3aZxOFIn0djUWsqmPSOVLcjq9gwtCN2yI2rheNM0ENdDzNoRBBA93vZR22Xp8VkGHjav_VFe6vm7oP-OUW6T-_DaSGzN-s4T7pClFhv/s640/sanguinetti_belinda_rosita_1998.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alessandra Sanguinetti, <em>Belinda and Rosita</em>, 1998.</td></tr>
</tbody></table>
<br />
"When you’re around ten years old, summer evenings, with their made-up games, flash thunderstorms, and aimless wanderings, have a magic and a mystery that you can never quite recover. But a decade ago, in her series of photographs of a pair of cousins in rural Argentina, <a href="http://alessandrasanguinetti.com/">Alessandra Sanguinetti</a> managed to capture that feeling on film. The series came to be called The Adventures of Guille and Belinda and the Enigmatic Meaning of Their Dreams, and now, at long last, it’s been <a href="http://www.nazraeli.com/bookdetail.php?book_id=100314">published as a book</a>. <br />
<br />
When she met the cousins, Sanguinetti was trying to work, taking photographs of animals near her parents’ farm. 'Beli and Guille were always running, climbing, chasing chickens and rabbits,' Sanguinetti writes. 'Sometimes I’d take their picture just so they’d leave and stop scaring the animals away, but mostly I would shoo them out of the frame. I was indifferent to them until the summer of 1999, when I found myself spending every day with them. They were nine and ten years old then, and one day, instead of asking them to move aside, I let them stay.' <br />
<br />
Sanguinetti now lives in the U.S., but she’s been returning to Argentina to photograph the cousins ever since. (The Adventures of Guille and Belinda covers the first several years of their acquaintance; another series, The Life That Came, takes a look at the cousins’ teenage years.) Here’s part of my conversation with Sanguinetti, followed by a slide show. <br />
<br />
<br />
<strong>How did it work? Was there some degree of collaboration - did they have ideas for what they’d like to be photographed doing?</strong> <br />
<br />
<strong>AS:</strong> It was three-way. They were kids, so when they play, it’s good if they have a little bit of direction, and then they do what they want. It’s a little like improvisation and theater. I would tell them, why don’t we play that you’re husband and wife and you’re eighty years old, and they would transform it into something else. Or I would tell them, let’s play it’s the funeral of one of you. And they transformed it into the funeral of the boy one of them liked. We had a really good time doing that. Any idea I had, they adapted to their own situation. That’s when interesting stuff would start to happen, and they would take over. If they didn’t take over, then it would fall flat. They would offer things up, and I would guide it visually. <br />
<br />
<strong>What kinds of things did they suggest? </strong><br />
<strong>AS:</strong> The first thing that comes to mind - I don’t have a good picture of it, so it’s not in the book - but they liked to play journalist. They would play out the worst kind of news program; one of them would be the journalist, and the other one would be the woman whose baby was stolen, and they would just run around the field and act distressed. They would act stuff out every day, just kid stuff. And I would show them books - da Vinci, religious art - and they liked the ones with angels, so we’d have fun imitating that. <br />
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<strong>Belinda and Guille must be in their early twenties now. What are they up to? </strong><br />
<strong>AS:</strong> Belinda got pregnant, got married, and I think is pretty happy. It’s what she wanted; she never really wanted anything else than what she has, so she’s doing well. And Guille, after Belinda had the baby, I think she was lonely, and wanted to have a baby, too, so she got herself pregnant, and now she’s a single mom. <br />
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<strong>In the photos, the girls seem to have so much confidence and humor.</strong><br />
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<strong>AS:</strong> It was the best time of my life, spending time with them. I had an excuse to regress a little. The first three years were just pure joy. I would just listen to them, film them - it was just completely free. I wanted their company; I had been sick a long time, I had been in Sweden, which can be dark and cold, and then when I went back to Argentina, there they were." <a href="http://www.newyorker.com/online/blogs/photobooth/2010/06/alessandra-sanguinetti.html">[Rollo Romig, The New Yorker, 24 de Junho de 2010]</a>Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com2tag:blogger.com,1999:blog-2167650547851138461.post-48069018713098350642010-07-21T16:04:00.001+01:002012-11-06T17:49:31.022+00:00"Black Day to Freedom" - Rob Chiu<div class="separator" style="clear: both; text-align: center;">
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<br /><a href="http://theronin.co.uk/Motion/?Black_Day_To_Freedom.mov">Rob Chiu</a>, <em>Black Day to Freedom</em>.<br /><br />"Created as a fictional back story to the global problem of the displacement of peoples, Black Day To Freedom portrays a city in turmoil with the loss and tragedy of a young family at the centre of the tale. Animated entirely in After Effects, the piece is both unique in appearance and powerful in impact. Character illustration by Steve Chiu, voice snippets by David Dunkley Gyimah, directed and written by Rob Chiu. Audio by Diagram of Suburban Chaos."Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com1tag:blogger.com,1999:blog-2167650547851138461.post-33623757687849627242010-07-20T17:15:00.000+01:002012-11-06T17:56:45.037+00:00"Some Thoughts on Painting""The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their color or smell. The effect in space of two different human individuals can be as different as the effect of a candle and an electric light bulb. Therefore the painter must be as concerned with the air surrounding his subject as with that subject itself."<br />
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FREUD, Lucian – <em>Some Thoughts on Painting</em> (1954) <em>in</em> <strong>Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings</strong>. STILES, Kristine, ed. lit.; SELZ, Peter, ed. lit. California [E.U.A.]: University of California Press, 1996. p. 221. ISBN 0-520-20253-8<br />
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<tr><td class="tr-caption" style="text-align: center;">"This photo of Lucian Freud working at night in his studio was taken by long time assistant David Dawson. The photo was part of an exhibition held by Hazlitt Holland-Hibbert to coincide with the book launch of <em>Freud at Work</em> (Knopf, 2006). The photo, along with a dozen others, was reproduced by the catalog put forward by the Centre Pompidou for its recent exhibition Lucian Freud. L’Atelier (March 10 2010 – July 19 2010)" <a href="http://aphelis.net/david-dawson-lucian-freud-working-at-night-2005/" target="_blank">[source]</a></td></tr>
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Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0tag:blogger.com,1999:blog-2167650547851138461.post-81802965891824146612010-07-19T18:34:00.005+01:002012-11-06T18:00:26.095+00:00"Things Fall Apart" - Rob Chiu e Chris Hewitt<div class="separator" style="clear: both; text-align: center;">
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<a href="http://theronin.co.uk/">Rob Chiu</a> e <a href="http://www.christopherhewitt.com/">Chris Hewitt</a>, <em>Things Fall Apart</em>.<br /><br />"Motion collective Devoid of Yesterday (consisting of directors Rob Chiu and Chris Hewitt) team up again (along with audio designer Ben Boysen) for a new short narrative led piece that explores a child's pent up anger and frustration that erupt in a force that marks the end of innocence. Sometimes... things just fall apart. Starring Jordan Chiu."Aquela que procura Ozhttp://www.blogger.com/profile/11054327227362709397noreply@blogger.com0