Durant 7 jours, les équipes de Sevenly ont observé autour d’eux tous les actes et les dons que les gens font sans contrepartie. En résulte cette superbe vidéo appelée tout simplement « Give » et basée sur les moments essentiels de la vie. A découvrir en vidéo HD dans la suite de l’article.
Cloudy Film est un court-métrage très sympathique signé par le collectif Friends With You. Cette vidéo d’animation nous emmène explorer l’univers des nuages et nous fait traverser le ciel composé d’éléments très colorés. Une création relaxante, à découvrir dans la suite de l’article en vidéo.
Illustrations, music videos, Berlin Wall murals and more from London’s quirky Frenchman
French illustrator, film director and creative polymath Mathieu Bessudo, or McBess as he is more widely known, is a London-based artist with an eye for incredible detail and a mind for a surreal rearrangement of the most simplistic of subject matters.
McBess’ illustrations are inspired by the drama of everyday life, by relationships, food and musical instruments that are re-modeled and contorted to create a microcosm in monochrome while simultaneously appearing to be something ripped right out of a nightmarish 1930s Fleischer Cartoon. The latest of these irreverent incarnations can be seen in his new collection for Berlin’s Dudes Factory shop, which includes a T-bone shaped chopping block, a gramophone, a beerstein (hand-thrown and fired in Bavaria), prints, plates and more.
In 2011 McBess was asked by Dudes Factory to venture beyond his everyday subject matter and to apply himself to a project more serious than steaks and electric guitars. Based at Berlin’s Freedom Park, he worked on a segment of the infamous Berlin wall in commemoration of the 50th year since its construction.
McBess approached the project with a degree of subtlety, claiming that he wanted his design to be “as low key possible”. The result of his efforts is stunning—his faint references to the Berlin bear, check-points and the separation of East and West Berliners is made clear without being too obvious, and it boasts copious details but isn’t weighed down by traditional motifs and symbolism.
In addition to his illustration work, McBess is a director at the Soho-based film company The Mill, an ultra-creative arm of the VFX Company. McBess’ show-reel displays the same rigorous attention to detail and fluidity that is so evident in his illustrations, and it is when brought to life by film that Bessudo’s work is perhaps at its most commanding. Various film projects include music videos for his rock band The Dead Pirates and “Dark Arts“, his title sequence work for the 2012 Ciclope International Advertising Crafts Festival.
Unsurprisingly, the Frenchman markets himself as “expensive” and fairly states, “You either deal with how I work, or I just don’t do a good project.” Download The Dead Pirates new EP FAT online for £3 and pick up McBess prints and merchandise from his shop.
Voici en exclusivité sur Fubiz, le nouveau film et campagne publicitaire de la marque Quechua par l’agence Fred&Farid résumant ses produits et son univers. Un showreel sur une bande son de Chut on vous écoute, avec une captation d’images du Studio Ores, Capsus Film et Simon Favier.
Un impressionnant trailer dévoilé pour l’édition 2012 du festival « 5 Point Film » autour du thème de la nature. Un travail vidéo dirigé et édité par Anson Fogel, produit par Forge Motion Pictures sur une bande son du groupe M83. A découvrir en images dans la suite.
Ari Marcopoulos presents richly degraded photography, photocopies and film in a new solo show
Dark, densely textured images seem to float on the stark white walls of the Marlborough Chelsea, the mostly massive black and white photographs fill the space with an almost unrecognizable, vaguely ominous mood. “Wherever You Go” is a considered collection of new photographs, photocopies and film by renowned photographer, filmmaker and artist Ari Marcopoulos.
“It’s as much about photography as it is about printmaking,” says Marcopoulos about the selection of high-contrast images. Shot predominantly with a 35mm point-and-shoot, the large-scale pigment prints and smaller photographs on rice paper are often printed multiple times and blown up to expose a gritty quality. Similarly Marcopoulos experiments with additional, non-photographic printed matter by layering photocopied imagery that evokes a visceral experience enhanced by the ability to walk up close and really see each minute detail of the bigger picture—a signature characteristic of Marcopoulos’ shows. But while each image finds identity in its distinct textures, the subjects themselves strike a cord with the viewer as well. “I think there is certain power in the images, a certain strength when you look at them. They’re kind of heavy images,” admits Marcopoulos.
Best known for his portraiture, Marcopoulos starts to stray from the expected with the inclusion of some more abstract images that remove all apparent context. “I like the idea of looking at something where you dont have an exact idea of what it is. It’s nice to make something where your first reaction is not words but just a feeling.”
Feeling this way upon seeing the unnamed image dated 5.8.08, we asked Marcopoulos to elaborate on the compelling photograph of stained skin. “It’s very close up,” he says. “It’s hard to tell what it is. It kind of has to do with the idea that as a photographer or in photography so often the images are about what it is you’re looking at. So this is kind of more about just creating a rectangle, that doesn’t really inform you as to what it is. It’s open you know. It’s more of a mood or a feeling.”
While some artists may shoot specifically for a show, Marcopoulos prefers to focus on a vague idea, letting the body of work develop organically. “A lot of thought goes into it, but in the end it’s very intuitive, it’s like improvisation,” says Marcopoulos. “You have an idea in your head and you do what you feel is needed to get it done. That idea is often not a wordy idea because you work in images, so the ideas are images in your head. The only way to get it done is actually select images—it can be one image, but it’s often two or three—and then put it together. Sounds very abstract but that’s kind of how it is. There is not ever one theme.”
While the large-scale prints and enlarged photocopies dominate the show, Marcopoulos chose to include a projected film with a colorful splash of life that contrasts nicely with the still black and white environment. Entitled “City Riders”, the voyeuristic piece was shot in a few short months with Marcopoulos’ BlackBerry, capturing about an hour’s worth of unsuspecting NYC subway commuters.
“Wherever You Go” opens tonight at NYC’s Marlborough Chelsea with a reception from 6-8pm. The show will then run through 16 June 2012.
Installation image by Ari Marcopoulos
Voici la nouvelle et superbe campagne TV du constructeur Audi pour 2012. Produit par l’agence Kempertrautmann et réalisé par Christopher Hewitt, la post-production a été confié au studio The Mill et la bande son à Ben Lukas Boysen et Ludovica Nardone. A découvrir en images dans la suite.
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The famed performance artist’s most significant works are revisited to further blur the line between audience and participant
Marina Abramović has returned to Milan with a new performance, specially conceived for the Padiglione d’Arte Contemporanea (PAC), her first major museum exhibition since her retrospective in 2010 at the MoMA. The Abramović Method continues Abramović’s three major performances from the last decade: The House With the Ocean View (2002), Seven Easy Pieces (2005) and The Artist is Present (2010). The focal point is always the constant relationship with the public, which becomes part of the artwork.
A retrospective of her most significant performances is presented among furniture with embedded minerals, allowing the public to interact with them while standing, sitting or lying down on the sculptures. These objects create a physical and mental pathway that transforms the PAC into an experience of darkness and light, absence and presence, altered perceptions.
Visitors can become performers and stand in absolute silence (thanks to special noise canceling headphones) expand their senses, observe (the rooms are provided with telescopes), and learn to listen. The Abramović Method aims to transform the artist, the performers and the public. In the video below we get a brief look at the piece in action.
The Abramović Method
Curated by Diego Sileo and Eugenio Viola
March 21—June 10, 2012
PAC Padiglione d’Arte Contemporanea
Via Palestro, 14
Milan
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).
A darkly comic take on rural cults wins top honors at the LES Film Festival
If you think “new noir” sounds like the latest buzzword designed to put Lana del Rey on the map, check out “The Kook.” The short, made by two NYC directors known as Peking (full disclosure: also frequent Cool Hunting collaborators), won the Audience Award after a sold-out screening held by the LES Film Festival last night. The moment helps shed some light on why the shadowy genre continues to feel so relevant.
In just its second year, the festival celebrates projects made for $200,000 or less. In many cases, much less. Co-founder Shannon Walker explains this “special time” for filmmaking as one when “you can tell a great story for not a lot of money”, citing a film shot entirely on a Nokia phone.
But, Walker emphasizes, the focus is on great storytelling. The selection process comes down to whether committee members “audibly have a reaction to it,” as Tony Castle (part of the fest’s creative team) puts it. The Kook, the story of a cult of people who wear yellow sweatsuits and rock bowl cuts, inspired plenty of noisy reactions among the audience.
The film follows Fa, the naive protagonist and enthusiastic cult member played by T Sahara Meer, on her journey for the truth after finding evidence that the operation is a ruse. She stumbles upon the leader, Malcolm (played by Dan Burkarth), a lowlife who is suffering some unknown pressure that leads him to manipulate his followers. In the process of Fa’s discovery, we see her pull back the curtain, revealing an unsettling truth and in turn finding unknown strength within.
Art direction, consisting of thrifted costumes and borrowed locations, makes one of the strongest cases for low-budget filmmaking by creating a complete off-kilter world. Even something as incongruous as an ’80s-era control panel embedded in a tree is believable.
The finely-crafted piece springs to life through gorgeous noir lighting and subtle cinematography, made all the more compelling with precise editing and rich sound design. Under the helm of the skilled directors, the excellent performances help cement a cohesive tone.
The team, comprised of Nat Livingston-Johnson and Greg Mitnick, have a background in music videos, documentary (see Cool Hunting Video) and commercial work, but it’s The Kook that truly showcases their talent for dark comedy. They’ve already earned rave reviews and awards at independent film festivals coast to coast, and we’re looking forward to more success for the film and the filmmakers.
To see more, watch the trailer for The Kook.
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