Karolis Strautniekas est un illustrateur basé en Lituanie qui dessine des scènes contemporaines originales et s’amuse aussi avec la typographie dans un style humoristique. Il travaille pour la publicité, plusieurs médias mais a aussi fait une série nommée « Portraits from Behind ».
Les gagnants du concours World Press Photo 2014 sont annoncés. Le concours se concentrait cette année sur le thème des problèmes contemporains. Le grand gagnant de la sélection est John Stanmeyer avec sa photographie « Signal ». Les autres grands gagnants sont à découvrir dans la suite de l’article.
Signal by John Stanmeyer.
Typhoon Survivors by Philippe Lopez.
Boston Marathon Bombing by John Tlumacki.
Final Embrace by Taslima Akhter.
Rebels Attack Government Checkpoint by Goran Tomasevic.
Massacre at Westgate Mall by Tyler Hicks.
Collapse of Rana Plaza by Rahul Talukder.
Temporary Accommodation by Alessandro Penso.
Bomb Maker in Aleppo by Moises Saman.
Moments Before the Hanging by Amir Pourmand.
Typhoon Haiyan by Chris McGrath.
Chaos in Central African Republic by William Daniels.
Gaza Blackout by Gianluca Panella.
Nicolette at the Orphanage by Maciek Nabrdalik.
Victims of Organized Crime by Christopher Vanegas.
A Portrait of Domestic Violence by Sara Naomi Lewkowicz.
War and Mental Health by Robin Hammond.
Last of the Vikings by Marcus Bleasdale.
Polo Fall by Emiliano Lasalvia.
Slalom Action by Andrzej Grygiel.
Forehand Forward by Al Bello.
Competition on Bars by Jia Guorong.
The Americas Cup : From Land, Sea & Air by Ezra Shaw.
World Swimming Sports by Quinn Rooney.
Sledding Race from Above by Jeff Pachoud.
Kite Skier on the Mountain by Anastas Tarpanov.
Free Diving with Sharks by Donald Miralle.
Nadja Casadei : Heptathlon and Cancer by Peter Holgersson.
Daily Exercise by Kunrong Chen.
A Lingerie League of their Own by Alyssa Schukar.
Kachin Fighters by Julius Schrank.
Soldier’s Funeral by Andrea Bruce.
Street Dogs by Julie McGuire.
Occupied Pleasures by Tanya Habjouqa.
Days of Night : Nights of Day by Elena Chernyshova.
Living Unnoticed by Jana Asenbrennerova.
Farewell Mandela by Markus Schreiber.
Ich Bin Waldviertel by Carla Kogelman.
Healing Bobby by Peter Van Agtmael.
Blind Indian Albino Boys by Brent Stirton.
Chiwetel Ejiofor by Nadav Kander.
Fennec Fox : A Species in Danger by Bruno D’Amicis.
A Flock of Guillemots by Markus Varesvuo.
Wolves Walking in the Desert by Shangzhen Fan.
Cougars by Steve Winter.
Toxic Beauty by Kacper Kowalski.
Bonobos : Our Unknown Cousins by Christian Ziegler.
L’artiste canadien Michel de Broin fait des installations créatives et loufoques dans différents pays d’Europe et d’Amérique. Des chaises, des tables mises en bloc, une télévision-cheminée ou une Statue de la Liberté retournée sur sa flamme, cet artiste nous surprend à chaque idée. Le tout est à découvrir dans la suite.
Molecule.
Molecule.
Révolution.
100watts to 3watts.
Black Whole Conference.
Braking Matter.
Dead Star.
Epater la galerie.
Etant donnés.
Late Program.
Late Program.
Leak.
Majestic.
Overpower.
Relief.
Revolutions.
Revolutions.
Revolutions.
Testudo.
The Abyss of Liberty.
Trompe.
Cut into the dark.
by Ikechukwu Onyewuenyi The move to marry modernity with sacred symbols is gaining momentum in both religious and design circles. This démarche has been a welcomed challenge for design collective Greece Is For Lovers (GIFL), as…
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Contemporary art takes over the Harbor City
by Alex Vitlin
Since 1973 the Biennale of Sydney has presented an exciting three-month program of contemporary visual arts throughout the city. This year’s 18th Biennale of Sydney is built around the theme, “All Our Relations,” a deliberately rich phrase—does it refer to family? Diplomacy? Proximity of concept?
The Biennale runs through three main venues—the Museum of Contemporary Art, the Art Gallery of NSW, and Cockatoo Island, as well as at satellite sites in the inner city. More than 100 works are on show, curated by co-artistic directors Gerald McMaster and Catherine de Zegher.
More than 50 works have been installed on Cockatoo Island, a former naval yard, and the artists exhibiting on the island have consciously made use of the leftover buildings and equipment. Fujiko Nakaya‘s “Living Chasm” fills the space between a former turbine hall and cliff face with fog, creating a 150-foot-high misted abyss.
Tiffany Singh‘s work is almost inaudible behind a wall, but stepping through a low opening reveals 1,000 wind chimes playing to the changing character of the wind at the island’s westernmost tip.
NYC-based artist Alan Michelson finds a tangible correspondence between the mire of Newtown Creek, located between Brooklyn and Queens, and the forlorn industrial majesty of Cockatoo Island in “Mespat.” Housed in an abandoned crane house,the work comprises a video projected onto stained-white turkey feathers.
Other works are installed in early settlement convict buildings, painted onto the launching slips of the island, and Iris Häussler works within an old residence that still holds the bizarre beeswax sculpting of a wayward city ranger who worked on the island.
Off the island, Postcommodity has installed their work “Do You Remember When” in the Art Gallery of NSW. Previously installed at ASU’s Ceramic Art Research Center, the work cuts out a slab of the Art Gallery of NSW‘s 1874 marble floor to reveal the earth below. Especially in Sydney, where British settlement first occurred in Australia, it is a poignant consideration of the touch points between indigenous Australian and later cultures.
In the former working wharves of Pier 2/3, Tiffany Singh presents more wind chimes, in this case to be taken home, painted and returned to the island. Further into the space Honore d’O‘s paper forms fill the old wooden space with an organic continuity.
The 18th Biennale of Sydney runs until 16 September 2012. Free ferries to Cockatoo Island run 10am-6pm every day.
Please see the slideshow for photo credit information.
A look at the current exhibition at Argentina’s newest space for contemporary art
For our latest video we took a trip down to Buenos Aires to see the second exhibition of the new Faena Arts Center. We spoke with the center’s executive director, Ximena Caminos, about the need for freedom in art, the opportunities the center has with their newly space, and the desire they have to promote both established and emerging Argentinian artists.
NADA debuts its first NYC art fair with a rooftop marketplace
Popping up in Miami during Art Basel for nearly a decade now, New York-based NADA (New Art Dealers Alliance) brought the show closer to home this year. The non-profit wisely timed their alternative art fair to run alongside the NYC debut of Frieze, London’s major art event that drew dealers and collectors from all over the world to Randall’s Island for the first time. NADA offered a great antidote to the frenzy of Frieze, taking place in a four-story building in Chelsea that made good use of the rooftop with a Phaidon book booth, coffee shop and a showing from Artis—a nonprofit that supports contemporary Israeli artists.
Instead of presenting work in a booth, Artis hosted The Artis Shuk, a playful rendition of traditional Middle Eastern marketplaces, or shuks (also known as souks). Works from more than 20 artists were available for sale, but unlike in the gallery booths at the rest of the fair, prices were listed on small cards displayed next to each piece. Most were less than $500 and all the proceeds went to the Artis Grant Program, which awards more than $125,000 to artists and nonprofits every year.
The undeniable standout at the shuk was an untitled sculpture of a glass of Turkish coffee sliced in half by Gal Weinstein. Turkish coffee, known in Israel as “mud” coffee, is an iconic Middle Eastern image. “Coffee can act as an invitation to a conversation or as reprieve from routine. Shown using the scientific visual language of a cross section, it also speaks to the gap between the efforts to analyze the Middle East and its complex reality,” explains Weinstein.
Another highlight, “Rolodex” by Zipora Fried is a real Rolodex the artist found. Fried went through it page by page and covered up all the names and numbers with archival tape, emphasizing the sense of loss that a discarded history of a person’s entire network would represent. Fried’s work often features covered faces as well as “drawings so dense they rebuff any illustrative meaning” and sculptures that are altered to deprive them of their functionality.
Working in a somewhat similar vein, Naomi Safron Hon seems to revel in making objects useless. “Straining, Mixing, Grating” and “Cement Grater”, two of her clay-clotted kitchen tools, were on display at the shuk. Hon uses these objects to symbolize how politically-motivated creation and destruction impact our daily lives, but on a more basic level, the delightful way the clay oozes out of the implements is aesthetically quite satisfying.
“D.I.Y: Fold Your Own Skull” is a kit by Itamar Jobani that you can use to construct a 3D skull from paper or plastic sheets. The pieces come pre-cut and pre-scored—all you need is glue. Jobani didn’t just want to make a cute rainy day project, he wanted to engage the buyer in a hands-on, art-making process.
Alex Prager explores drama and death through new eyes in her upcoming exhibition
Since exhibiting “Week-End“—her last solo show at NYC’s Yancey Richardson Gallery in 2010—photographer Alex Prager has been busy at work, but mostly with projects outside her own personal endeavors. Whether shooting the 1960s-inspired Missoni for Target campaign, villainous celebrities for the New York Times’ annual Hollywood issue, or lending her talents to Bottega Veneta’s “The Art of Collaboration” campaign last spring, Prager keeps her signature cinematic style at the forefront of her work while successfully bringing to life a new vision for each commercial and editorial assignment she takes on.
Prager’s work returns to gallery walls next month, in a new solo show called “Compulsion”. Simultaneously taking place in New York, London and Prager’s hometown of LA, the three-city exhibition will include an array of photos that reflect her interest in the emotion expressed solely through a person’s eyes, and the powerful foundation they provide for provoking mystery. The eyes show how the young photographer has evolved since “Week-End” without departing entirely from her penchant for heightened drama and voyeuristic compositions. In “Compulsion”, the eye close-ups also allude to the anonymous characters found within her tragic scenes, titled like newspaper reporting, such as “1:18pm, Silverlake Drive” or “11:45pm, Griffith Park”.
This strong interest in emotive eyes is perhaps inspired by the intense baby blues actress Bryce Dallas Howard worked for Prager’s camera in her short film “Despair“, several stills of which were exhibited at MoMA as part of their “New Photography 2010” group show. “Compulsion” will feature a new short film as well, one that also toys with the idea of death. “La Petite Mort”—a French phrase for orgasm—stars actress Judith Godrèche, who is, according to a description of the film, “experiencing the boundaries of her body and those of this world”.
A soft-spoken self-taught artist who fell into photography after a little soul-searching and a life-altering trip to the Getty Museum (where she came across the work of William Eggleston) just a decade ago, Prager has since become an exciting and integral part of contemporary art. Her latest series, combined with her commissioned projects, really showcases her growth within her chosen medium and her ability to constantly push herself in new directions.
“Compulsion” opens 5 April and runs through 19 May 2012 at Yancey Richardson Gallery (NYC), then follows with openings at M+B (LA) and Michael Hoppen Contemporary (London).
The famed fair for high quality historic design and contemporary wares travels from Paris to New York for the first time
Founded 15 years ago in Paris, the Pavilion of Art & Design brings together some of Europe’s most interesting galleries and dealers focused on modern, decorative and tribal art. In 2007 PAD co-founders Patrick Perrin and Stéphane Custot took the show on the road to London, and now the art savants have set up shop in New York at the Park Avenue Armory.
Perrin and Custot’s expertise on 20th-century art is clear. Each of the 52 purveyors picked to exhibit in NYC has a distinct draw, but the eclectic mix shares a cohesive aesthetic. The refined experience leads to an interesting discovery at every turn, whether it be a desk by Yves Saint Laurent at Lamberty, Rembrandt Bugatti’s “Giant Anteater” sculpture at Sladmore Gallery, or Ingrid Donat’s “Commode Facette” at Barry Friedman Ltd. A strong sense of geometry, the use of metal and thoughtful design pervade the work. While each exhibitor at PAD has a collection worth seeing, below are five not to miss.
Based in London, Adrian Sassoon eschews a gallery space in favor of finding artists and presenting their works at larger shows. Two that caught our eye were British kiln cast glass pioneer Colin Reid and emerging artist Junko Mori. Reid’s “A Vertical Sculpture Cast From Books” is a mesmerizing piece that uses glass’ refractive properties to create an optical illusion. Junko Mori coated forged steel in wax to create “Propagation Project; Bird” a strikingly eerie sculpture that captures the raw beauty of the avian form.
Rome’s Secondome gallery is showing a stunning assortment of contemporary furniture that speaks to the younger collector’s aesthetic. Intriguing shapes and alluring materials abound, such as Sam Baron‘s 2011 table, “Le Bureau de Paolo.” The grain of the varnished teak surface contrasts nicely with the off-kilter drawers built into the legs, and Alessandro Ciffo‘s colorful take on the modern carpet, he calls “Tapislongue.”
Tribal art has a huge presence at PAD, and no collection exemplifies the beauty of these objects more than that of expert Alain de Monbrison. Ornate sculptures and masks sourced from Africa and Oceania modestly rest on gray stands, including standouts like the Bamana mask from Mali and the Kongo Dinga mask from the Republic of Congo.
Yard Sale Project‘s Ian Spencer and Cairn Young use various types of wood to create their “chaotic” furniture, on view at Todd Merrill Studio. The “Corsica” and “Roccapina III” one-off chairs are a combination of computer-aided design and traditional woodworking techniques, crafted in their South London studio. The chairs are offset by an assortment of white sculptures, including Beth Katleman‘s “Folly” figurines and Katsuyo Aoki‘s “Predictive Dream XXIII.”
Undoubtedly diverse but with a definitive vision of notable works from the 20th century, Pierre Passebon’s collection spans lamps by Anne & Vincent Corbière, furniture from Guy de Rougemont and a Gio Ponti coffee table. Galerie Du Passage is brimming with covetable wares and exemplifies PAD’s notion that great design informs us about the world around us.
An all-new Nova returns to São Paulo with moving image work by a cast of global artists
While queuing at the Nova contemporary art event Nova in São Paulo recently, a handful of half-masked ninjas went to work scribbling on nearby glass walls. The live-art act by the collective Ros Dolan and the Gang kicked off a lineup of free art events running every Saturday over the next five weeks. Featuring international artists such as David O’Reilly, Mulheres Barbadas and Mark Jenkins, the fourth-annual festival took on more than a few bold new dimensions this year.
Last year’s edition took on painting as the central theme, but this time the focus is decidedly on cinema, with sessions split into three parts. Each evening spotlights the filmic work of a selected artist or director, such as Semiconductor, in the Cinemateca Brasileira theater before moving into the foyer where the audience will watch a film specially created for the event. Installations from artists in other disciplines provide the room’s backdrop. For example, at this past Saturday’s show, the threaded work of Sebastien Preschoux set up the ambiance for “Stethoscope,” a movie by duo Lolo and Sosaku Miyazaki.
This last part becomes interactive when artists seek out and record audience participation after the film, which Rojo will film and edit. Between screenings, people can witness live art-making in Absolut Vodka’s Espaco Absolut Blank part of the venue.
To end the event, Rojo has invited artists to bring their own projectors and show their pieces in an all-at-once screenings fest. Currently on view, the event ends on 29 October 2011 at the Cinemateca Brasileira.
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