Remeber, if you break any of these rules, you will be deleted. You must ask to add other scratchers. Please please do not change the description words or picture. Thank you! -TMNTlover7. _____ This studio is all to do with: MUSIC! Projects including/about music are allowed. If a project doesn't include music, Bye Bye project! May 06, · This studio is about my remixes of songs off the internet and YouTube. NOTE: All of my projects are all based on music.:) All my songs are all from requests so if you want me to make one of your favorite songs please comment on my profile page and I will try to make your request happen. Oct 09, · I will be! If you want to be manager you must of updated your fave song 3 liehageludedownfumetheamegilern.coinfo manager, no changing anything. The thumbnail will change with the song of the week. Suggest song of the weeks. Also album of the week. Song of the week: Treat you better- Shawn Mendes. Album of the week: I cry when I laugh- Jess Glynne.
Our main tip for up-and-coming independent artists is to be confident in your own music and trust in what you do. The more and more you become a part of the music industry, you find that everyone has an opinion of what you should do and how you should be. How would you describe the sound of your debut EP to new listeners?
I know that it is pop and that it is soul. But there are bits of inspiration from all over my life! Did you ever think you would have come this far so early on in your music career? I always had hoped that I would be doing exactly what I am doing.
From the day I uploaded my first song on triple j Unearthed, I hoped. It all started from there and things started happening in real life rather than in my head!
Since then I have not stopped singing. How does it feel to have the opportunity to perform at the awards in front of so many talented independent Australian artists? It feels a little intimidating but feels good; I am always excited to sing for people.
I am looking forward to meeting other independent artists who are just like me in this music world. What do you think the highlight of the AIR Awards will be? I think singing at the awards will be the highlight for me — the singing is always my favourite part of any event. Tell us about your work with the organisation. What has been your biggest achievement in your career, both musically and with your work in the community?
My biggest music achievement so far has to be the release of my debut album One. During its creation I built so many amazing friendships and went on such a rollercoaster 12 :: BRAG :: :: With my work in the community, there are so many stories of positivity. Not at all.
Getting nominated for awards and getting played on radio was not on our minds when we created this album. Michael McGlynn my producer and I just wanted to make powerful and meaningful music. How people receive it is out of our control. What we can control, though, is making music that inspires people to feel.
It Breaks Scratch - Massimiliano Nevi - Promos Design Two (CD great to see Gizz really make the most of the grant — inspiring. If there were one reason why you guys deserve to win the grant, what would it be? It would certainly make a huge difference to us.
How did you manage your time so well between constant touring, as well as the. We love to keep busy and work hard.
For new listeners, describe the sound of your newest album, Nose Dive, in a few short words. Has a lot changed musically and professionally between the recording of your debut album inLeave It All Behind, and the release of Nose Dive? Can we capture that magic up onstage again? But nothing came close to the collective that is us. Sincetheir experimental attitude earned top-charting singles and albums both in Canada and Australia.
Martin not only plays guitar and sings, he fl exes a considerable. But what we do is take it a bit further. I think the Reformation Tour in here in Australia proved that we were a band better than ever.
Could we fi nd that brotherly love again that was so important to making records like The Edges Of Twilight and Transmission and Triptych? Could we fi nd that respect again for one another? Found it. Martin and the boys changed their approach to writing and recording, easing the pressure they usually saddled themselves with. Martin toured with frontwoman Sarah McLeod earlier this year, performing intimate shows around the country. Fans will wait. Martin also made his way back to Windsor, Ontario to reconnect with family in Just a Les Paul plugged into a Marshall.
We were going to use our skills, use our musicianship. Write some songs. May God rest her soul, but where Chrissy Amphlett left off, Sarah has taken up her baton. She can be vicious but she can be absolutely adorable. Bassist Stuart Chatwood and drummer Jeff Burrows set on their projects. Merilahti is hard-pressed to say what avenue she expects her writing and music to take next. The process seems happenstantial, with songs conjured from the unexpected rather than through deliberate choices.
It comes from the brain more than the music, so. Music is, though. For me, it has something to do with the playing of stringed instruments. Sunfl owers and lavender. Full of gorgeous horns and tribal drums, the energy there is incredible. It does make for a curious contrast, however, now that the band has moved into this new, electronic direction. It was somehow always more logical for the sound that we had in the studio, it felt really natural.
So I think it started from there. We were also really obsessed with hip hop — we listened to more electronic sounds and that kind of thing. So it started that way, and we kept it that way.
It became our ultimate direction for the album. They even put in the effort to head across to Perth for a Album). We got to hang out on the beach; our hotel was right on the beach.
Kicking around there, checking out the city a little bit. We even saw an opera at the Sydney Opera House. The Shakespeare play? It was a little too much. Though the rock half of the band sounds pretty pop-punk, their aesthetic and subject matter is straight horrorcore.
They rap-sing about murder, suicide, the apocalypse and chloroform while wearing masks like hockey-playing killers or Mexican wrestlers. Funny Man insists that several members of the band have actual criminal records, which is why they found it hard to get into Canada. Luckily we. He had no recollection of it whatsoever.
Then when we landed, I forget where, we had a layover somewhere in Australia, and the TSA and all the cops were waiting at the gate for him. He got in some trouble; we had to talk all the cops into letting him go and all that stuff. It got pretty hectic but it was pretty funny.
I guess it was my fault for giving him that little sleeping pill. He started this band and we picked him up and as he.
It was cool, man, it was fun. A and I heard it the first night and I got stoked, then he asked if I wanted to come up onstage and sing it with him every night. A as a formative influence, along with the rest of the s hip hop boom, like Wu-Tang Clan and Snoop Dogg. That was what I listened to.
It was certainly nice having older cousins growing up who knew what was up, stealing their mixtapes and listening to them in my bedroom, getting yelled at. Look at me now — I talk about pussy, weed and butthole all day, every day, dawg.
Not be so bummed out about it. Due for release on October 24, the track Rowland S. Howard anthology Six Strings That Drew Blood travels chronologically through his year music career. The collection shows that, while many chiefly know him for his dazzling, violent guitar work in The Birthday Party and The Boys Next Door, Howard was a truly original singer, songwriter and bandleader in his own right. There were always people who were huge fans of Rowland.
He would soon put together his own band, These Immortal Souls, featuring. But it was still part of who he was. The fact that Howard would only write when afflicted by inner conflict explains his proclivity for minor keys, modal dissonance and shrieking guitar noise, as well as his grim, often self-scathing poeticism.
Nevertheless, after These Immortal Souls faded from view, Howard carried on to a solo career. Teenage Snuff Film was a truly striking document of a unique artist, beautiful and mournful all at once. That record, Pop Crimes, came out just months before his death. The sound of the match was sent in by four individual people. I thought that was interesting, because no other two similar sounds were sent in, but four people chose to strike matches.
I like the idea that the whole album started with the sound of the spark. Making the album over four years with a song released more or less every three months, Heap travelled to places like Bhutan and Hangzhou — opportunities she normally would have to decline when in recording mode. So usually at the start of each class we had an argument, and I was being very obnoxious probably, and he kind of put me in this cupboard because he knew that I liked being there, where the computer was.
I realised I could type in with a musical keyboard the different parts of all the different pieces and I could hear them all back and I could edit them — it was so amazing to me. In fact, she relied on her considerable fan base to make her fourth full-length album, Sparks. It traverses the boundaries between pop and musical experiment, using technology like 3D gloves and a specially developed app in the process.
A classically trained musician, her foray into technology started early, when a music teacher locked her in a cupboard. For many artists, the kind of creative risks she takes would be nerve-wracking enough to end in breakdown, or would lend themselves to a far more jaded outlook on the music industry.
Part of that is to explore the outer boundaries of pop music through challenging how an album is made that is, be isolated in a studio for a year, tour the album for three, have an existential crisis, rinse and repeat.
Instead, Heap wanted this record to be made while she was also living her life — seeing friends, travelling and maybe even spending time with her boyfriend once in a while. Thus Sparks started in a collaborative spirit, when Heap asked her fans to send in samples. I took that and turned it into an instrumental piece.
His job is to protect all of the folk music from the area before all the memory of it vanishes, and I thought it was just so perfect and had a real story. But the good thing is, I kind of realised that I wanted children, and that was what I wanted the next minute of the song to be about.
The remaining members agreed to continue on under the name and work towards their eighth studio album, Resurrection. It comes at a very interesting time in the overall chronology of New Found Glory, with its release date falling just shy of 15 years since they dropped Nothing Gold Can Stay, their debut LP. A lot of trends, styles and demographic shifts have passed in those years, but New Found Glory have somehow found themselves as a constant.
Pundik is asked what he thinks are some things that have never changed about the band in that time — and there are more than one would expect, at least on a personal level. We still wanted to make it sound like New Found Glory and have it reflect what people like about our band. We went back and listened to stuff like Rage Against The Machine and Pantera — these massive, heavyas-fuck rock records with only one guitar.
Pundik — who is joined by guitarist Chad Gilbert, bassist Ian Grushka and drummer Cyrus Bolooki — confirms that not only will Klein not be replaced in the official band fold, there will not be a touring guitarist joining them either. When it comes to New Found Glory inwhat you see is what you get. The best part is that it sounds just as big. With promotion and touring for Resurrection well under way, the band is set to return to Australia once again as a part of the Soundwave festivities in When it comes to Australia, we only come once or twice every couple of years.
When we come back, people seem to really appreciate it and really want to show that they know the lyrics and want to go off harder. We want to make it worthwhile for everyone, Breaks Scratch - Massimiliano Nevi - Promos Design Two (CD. I remember Hatebreed getting on the bus about six in the morning, and most of them had been out all night. They were still raging!
It took me back to when we did Warped in Australia back in — we were the young kids on the bus back then. That was so cool to us — it was crazy to come back and do it again. Politicians strangle it, celebrities fake it, media inflates it The nation's mightiest wordsmiths gather for Word Travels Story Festival: an epic 3 days packed with poetry, stories, lyrics and monologues. Get ready to fall off your seat, with Vince Sorrenti headlining a line-up of hilarious acts.
Food till late. Thi nk! Ab About out u yo your urr cho c ice ch c s. We wanted to make sure we got it right. It took as long as it did, and once it was finished it was decided we were putting it out in five months, which seemed like ages, but time is on a slope and it goes fast and here we are now.
It feels good. We wrote heaps more songs than we put on the album. We basically kind of just chose the best. In making the list, we played around a lot before deciding.
My wife is really good at finding four-leaf clovers — she finds them constantly, and the way you get luck is by eating them, or so she tells me. I was walking the dog one day and that concept occurred to me, as I think I did eat a few.
We want to make sure a couple of the new songs are more up-to-scratch, but at the moment our set is probably 50 per cent new stuff. Ahead of their Sydney shows, bandleader Richard Cartwright explains how it came together and why marching to the beat of your own drum is a good thing. It was only recently when my mother came to visit and we were talking about Bonanza that she mentioned that the ranch was called Ponderosa, out of the blue, and I thought it was a kick-arse name for something.
But how many fourleaf clovers constitute a salad? Donny Benet A Weekend Away By Augustus Welby Inviting six distinct personalities to separately contribute to a record could quite easily have resulted in a disjointed collection of tunes. I think they were trying to let loose and write a Donny song. Without sounding too cheesy, it was just a whole bunch of fun. The record harnesses the spirit of uninhibited fun that defined a series of club gigs put on by the mustachioed bandleader and friends back in early It was just really nice to get together with these people and write some music.
We were just having fun with the songs, but we still wrote the shit out of the songs. The last few shows we did in Sydney, the stage was invaded by young women.
It was just such fun to play with those guys in that kind of environment, so [the album] just stemmed out of that. As one of the few dedicated photography spaces, 10x8 Gallery is a great space for photographers to be seen in. Artists are always working at producing new work so it is important and exciting for them to show that work, even if it is work in progress. Edwards took five to tell us all about it.
Good question. There are individual artists I have been working with to find venues for their work — Jill Crossley and Nancy Trieu, for example. Scott Walker has a show coming up at Gaffa in November, which is worth catching.
Back in the day, Brad Pitt used to fight with his fists. Pitt plays an army sergeant named Wardaddy, leading Fury and her five-man crew behind enemy lines to strike at the vulnerable heart of Nazi Germany. Talk us through the concept of October Unseen. With the concept behind Arthere, I am placing photographic artists into existing galleries of all kinds — commercial galleries, artist-run spaces, rental spaces or pop-up spaces.
My involvement with Stills Gallery has continued for over 20 years. I have learnt enormously from my work there. I now work very part-time at Stills Gallery. Arthere was founded in and it is an idea of my own based on my time at Stills, looking at the work of many artists coming to find what is very limited space in Sydney to exhibit work.
I could see there was a need to educate artists in negotiating the art world and to support them in the many steps that are required to mount work for exhibition. What can you tell us about some of the artists involved in this exhibition? You will see a range of work offering interpretations that reflect both the portrayal of the moment and a rich variation of styles seen currently in photography.
There is also a beautiful video work by Julie Williams. Enda Markey will produce Blood Brothers, one of the longestrunning musicals in theatre history, for a strictly limited four-week season in Blood Brothers is entering its 32nd year of production since it first opened on the West End in Blood Brothers returns to Sydney for the first time sinceboasting Helen Dallimore the original Glinda in the London production of Wicked as Mrs.
Johnstone, supported by a diverse cast of international actors and singers. A white background seems so empty that it becomes full, while a black background seems so full that it becomes empty, or maybe it's the other way around. Either way, one is a cacophonous silence, while the other is a tranquil noise. Describe your process of using nesting software to arrange letters on your book cover and in the zine included with your book, Automatically Arranged Alphabets.
We used a series of typographic compositions made by playing with trial versions of nesting software. Nesting software is industrial software mostly being used in. We used it as a tool to create these typographic compositions, which were automatically arranged by the nesting software.
A lot of people might think that such a project is quite typical for us—for some reason, there exists this image of us as quite systematic, rational, default-type designers. But nothing can be further from the truth. We may use the language of systematic design, but we use this language often in a very subjective, personal, and hopefully poetic way. We truly believe in the aesthetic intuition and individual expression of the designer. In terms of your own freedom, what is the difference in the approach for client-directed design and installation work?
We don't really distinguish between autonomous work, and client-directed work. In a sense, we regard all our projects as self-initiated. The moment we say yes to a project, we initiate that project, whether the project involves a client or not. We have a bit of an existentialist streak when it comes to assignments—we see our position always as being completely free, even when being confronted with the most terrible restrictions and compromises.
It is exactly while dealing with these limitations and restrictions that we exercise this freedom to the fullest. In contrast, we see the projects themselves as completely unfree. After all, no project is free from restrictions, limitations or circumstances.
Even a project that involves no client at all is still not free—there is always a context to respond to, material limitations to deal with, historical circumstances, or underlying structures. To us, these are two phenomena that manifest themselves at the same time within each project, and there's not some sort of middle ground.
We know, it all sounds terribly complicated, but, to us, it makes a lot of sense! We had heard of their blanket collaborations in the past with artists Wes Lang and Richard Colman, but had never seen or touched them in person. We were hooked. Made in Norway, the blankets truly weave a story, one of a traditional craft given a completely contemporary spin. Is this something that is still taught in Swedish schools?
It can refer to anything like woodcarving or making a woven or knitted textile, like a blanket. I did have this course in school a couple of hours every week, and it's still there for students.
When did blanket production start for Indigofera? The blankets were developed at the same time as the jeans, and have been a part of the collection from day one. Sincewe have done about 30 different designs. I grew up in a home where we had quality wool blankets, which we have done remakes of.
And we all had Volvos. This was to protect the seats and keep you warm if the heating system could not keep up with the cold winters.
When we were starting the brand, I had a girlfriend in Norway and found the last existing blanket producer there. Once there were a lot of blanket factories, but they have all gone from Scandinavia now. Wait, you would buy a Volvo and get a blanket? Maybe you should rekindle this? Yeah, the blankets came with the car. I totally remember having those blankets in the car as a kid.
That may be a good idea. I might contact Volvo. How did you formulate these collaborations? Wes's artwork looks natural on a high-quality blanket, and Richard's are so eccentric and unexpected. How did you plan these? There was no masterplan. I have followed Wes and got the opportunity to buy a piece of his art and met him. He invited me for a BBQ. I sent him a blanket to say thank you for his hospitality and he reached out and asked if we could do a. I connected with Richard through a common friend.
As the blankets have limitations in the amount of colors you can use and what you can do, there is an interaction between the artists and me. But, in the end, it is what they see in it and what they want to do that makes the result. I hope that giving the artist freedom to create is what gives us the feeling that you describe. The format in itself creates the limitations, but I think that brings out the creativity.
Any more art blanket collaborations coming up? We really enjoy this part of what we are doing, but we also want to keep that vibe you described earlier. So I think we need to let it have air and not force anything—let it come to us in mysterious ways.
Learn more about Indigofera at indigoferajeans. Mostly, I look for faces on the Internet. Sometimes I take photos on the street, but even when I use an Internet photo, I change the face a little bit to work better for my idea.
Depending on the subject, when I search for the people, I already have an idea of how they should look. I just do what I think is good enough to paint on a wall or canvas. You can create whatever you want. I think my beginning was the same as thousands of people at that time. Etam Cru was made in Turek, the city that I come from. In the beginning, it was my good friend, Bol, and me.
It was a natural process based on friendship and passion. I put my music on and I don't care about anything else. That's somehow relaxing. I'm exhausted but I know that I did something today. I didn't watch TV all day; I worked hard. I think, like life, you never know what idea the next day will bring to you.
Sometimes I change my painting in the middle of the process because I get inspired by something, and I start to look at a painting in a different way. I like to search for books about good artists. You can learn a lot by just watching how someone else works.
I think that working together levels you up; you have to be better and better because your friend is getting better. It's not about what each of us does by ourselves but how we can work together, how we can mix our ideas and make consistent work.
The Krampus terrorized the bad until they promised to be good. Some he spanked. Others he whipped. And some he shackled, stuffed into his large wooden basket and carted away, then hurled into the flames of Hell! Such scenarios were delineated by skilled and imaginative Old World craftsmen, printed on penny postcards and disseminated throughout Europe. Barris created some of the best known and iconic cars of the 20th century, inlcuding the original TV Batmobile, the Munsters Koach, Hirohata Merc, Ala Kart and countless other made-to-order vehicles for movies, TV, and for the private use of his celebrity clients.
Born in Oklahoma and raised in a racially turbulent Paris, Texas, Trenton Doyle Hancock has been weaving a complex fabric that laces elaborate fantasy into personal and familial folklore, while examining his own cultural and philosophical identity. His personal mythology is rife with subplots and character crossovers, presented on an extravagantly theatrical scale. Life, death, afterlife, rebirth, transcendental contemplation, racism, love, hate and metamorphosis are all prime players in his great odyssey.
Over the past year, his major drawing retrospective, Skin and Bones: 20 Years of Drawing has toured museums around the country, while other aspects of his oeuvre and practice have been on display around the world. Film, performance, sculpture, writing and dance are all material in his monumental and ever expanding tapestry.
Gabe Scott: Your drawing retrospective has traveled for the last 12 to 15 months. Do you feel differently about certain pieces?
Trenton Doyle Hancock: I was very happy to have the. A lot of those drawings had never been in the same room before. Walking through the show helped me objectively analyze my intentions as an artist—discovering myself anew.
It enabled me to step back and make important connections about scale, material and content. Seeing myself retrospectively has made me realize that I really like the "aesthetic of the timeline" or the collapsing of time into one space.
I like seeing things I've made from different eras in the room at the same time, or all on a page. Having had time to let things sink in with your museum retrospective, do you think the hierarchies and mythologies that have evolved over the last 20 years have reached a point of stasis? Quite the contrary. I feel that living with the drawing retrospective for the past year has stirred any stagnancy in my studio.
Being able to re-visit old characters, tropes, and drawing methods has reactivated my studio in a way I never thought possible. I fell in love with my characters all over again. What were some of the comics you were really inspired by when you were young?
It's one of my favorite comics because it was a darker retelling of the Marvel mythos. There was lots of. I imagined that if superheroes actually existed, then this comic portrayed that reality. Also, instead of being drawn, the panels were painted in oils and watercolor.
You were largely raised by your grandmother, yes? I spent a lot of time with my grandmother when I was young, and my mother and my aunts. There were a lot of older women who helped raise me. In fact, she was once a Mound, and evolved into a warrior goddess. How did the Mounds actually come to be, and how was that mythology created? As I painted more, I relearned a lot of things about how to use materials, and about the history of painting.
I was also doing a lot of psychological archeology on myself. What I was left with were bowling pins, and I felt a deep empathy for these seemingly helpless forms. The Mound was the result of my search for a simple yet complex form, a receptacle for universal ideas. For a while, I was creating characters that acted as loners.
It only seemed right to have them all interact with one another at some point. In this way, the mythology grew organically. The concept of the Vegans came from my need to address an immediate problem. I was living with some vegans in grad school, and the domestic situation was getting a little intense.
Let's just say, our ideologies and worldviews were clashing. I started drawing these horrible pictures of them to make myself feel better about the situation. Do they know that? They probably do. I kept drawing the Vegans after I graduated, and eventually I gained distance from that initial trauma.
The negative feelings turned into something I could use in my work. Vegans became the opposition to the Mounds. Vegans are little, bony, vaguely humanoid goblins that travel in groups. The Mounds are huge furry heaps that are plump and ripe.
The contrast of these two characters appealed to me, and thusly, their inevitable opposition was set in motion. I was raised Baptist and Pentecostal.
Then I gather that oral tradition is a pretty big thing for you. How has that been passed down through your family and manifested in your work? I chose to re-stage a performance I originated in where I dressed as a Mound, ate Jell-O, and farted balloons… it was crazy and fun. It had been more than 15 years since I activated this performance, and my thoughts about it had changed dramatically.
For the current show, I decided to augment the design of the performance, both adding and subtracting.
This time, after I ate the Jell-O, instead of the balloons coming out, I actually sang a hymn that I learned in church. The performance itself is about oral tradition, and for me, it's a way to maintain a connection with the people who taught me. My grandma and my stepfather were the keepers of that sacred knowledge. Now that they are no longer living, I am one of the keepers of this knowledge.
Merging my artistic concerns so transparently with my religious past felt almost sacrilegious and was unsettling for me. It ended up being a very serious and confrontational performance. Traditionally, Texans hold two institutions in high regard: church and football. I grew up in church, and I grew up playing football. I understand those structures, and maybe I help bring some.
Do you frequently involve performance in accompaniment to larger-scale exhibitions? Or is it really on a case-by-case basis? How crucial is it to the narratives in your work? The acting-out or role play of the narrative is very important to what I do. It attaches me emotionally to the subject.
If I perform as a character, then I can believe in that character. Therefore, I can paint or describe with a certain amount of freedom, unhampered by guilt. Similarly, there's an emotional or spiritual muscle memory that takes place when I do a performance.
When approached about translating your oeuvre into a ballet, what were your initial thoughts? How did that come to pass and what did experiencing your own creations through that medium do for your perspective?
Had you ever considered your subjects and creations performing similar acts in a stationary world? Stephen Mills, the choreographer for Ballet Austin, approached me with the request to collaborate, and after speaking with him and seeing a few of his pieces performed, I knew that we were coming from similar emotional places with our work.
I was convinced that we could have a great working relationship, even though my initial thoughts were fear and apprehension, mainly because I had no prior experience with ballet. The prospect of seeing my characters moving through space was an exciting one.
The truth is that I hadn't ever imagined my characters being animated in that way. Stephen was responsible for illuminating that possibility of movement.
The piece was a three-way collaboration between Stephen, composer Graham Reynolds, and myself, and I am forever pleased with the results. The most surprising thing was seeing the piece performed on opening night. It took three years to construct the ballet, and I had a hand in almost every aspect.
I thought I knew exactly what I was in for because I had heard the score, seen the rehearsals, talked to the lighting manager, co-written the material, and designed key visual elements. I thought wrong.
The beauty of the production was that it actually took form when all of those aspects co-mingled on stage on opening night. I was as surprised as any of the audience members who had come into the production blindly. It was my world of creatures, yet it wasn't at all. It was a reinterpretation of my world by the choreographer, the composer and myself. Ultimately, it was. There was a new kind of color, depth, timing, and richness that we, as a team, discovered.
I quickly made the distinction between ballet and the kind of performance I did alone. The ballet, Cult of Color: Call to Color, does not count as performance as I am not the one on stage. The ballet exists outside of the parameters that I have given for performance and is listed more accurately as dance or theater. Vegans and Mounds in the Forest.
Photography by Tony Spielberg. Were you studying art straight away as an undergrad? Did that cause anxiety?
Did you receive encouragement? I was always really ambitious in terms of wanting to be a working artist. By age 15, I had decided that I was going to graduate high school and go work for Marvel comics.
But when I got to college, I discovered other possibilities. You could be an illustrator, you could paint, you could be a sculptor, and so on and so forth. I liked all of those options, but in terms of making money, I thought illustration would be a viable path. Ultimately, illustration proved to be more restricted than I wanted it to be. I knew I was in the right place! I wanted to learn everything I could from them, and they equipped me with a valuable graphic understanding and awareness.
Can you explain the grotesque aspects that frequently appear throughout your work? From where does that fascination stem and why is it so prominent? For me, the concept of the grotesque lies somewhere between ugliness and widely agreed upon beauty. The grotesque is a much more interesting kind of beauty, because to appreciate it, one must acknowledge death and deterioration as a an integral part of life.
Much abject satire uses the grotesque to poke fun at what is sweet, pretty, and utterly normal. The grotesque is attached to humor, which.
It's no wonder I was so interested in Garbage Pail Kids and Mad Magazine when I was a kid, because they were made in the spirit of criticism. You've mentioned that many of your characters go through a series of tests to determine how they will stand up to the test of time. What goes into your vetting process and your procedure for determining their fate?
My studio runs on two tracks, a narrative and a material track. It is natural for me to tell stories through images, but it is also quite natural for me to arrive at meaning through material investigation. The process of creating my narratives generally begins with writing, drawing and building characters in my sketchbooks.
A similar editing process happens when I choose materials to express an idea. Painting is at the heart of what I do, but my ideas can manifest as installations, sculpture, animation, etc. This broad range of formats gives way to all kinds of materials.
For example, I recently completed a large-scale installation using vinyl, plexiglass, metal and astroturf. There is a good chance that these materials could migrate into one of my next projects, while others could be replaced with more suitable options.
Brought, where your masked character has a third-eye interaction with one of the striped Bringback characters. Yes, it is. Last year, I began writing what is basically the next saga, something that should keep me occupied for the next three or four years. The scene you are referring to reveals an initiation my character goes through in order to become a mutated being called a Bringback.
A couple of these Bringbacks kidnapped me and I was absorbed into a hungry Mound, where inside, space and time have a different kind of meaning. Ultimately, I'm recruited to become a toy designer for the revolution.
The "me" character is no longer simply implied, but is now a character of consequence within the stories. Is the process of your performance, with you taking on the role of your character or the personality, a cathartic exercise, at least in terms of things you are processing in your own life? Yeah, and again, it always has been.
How did the Bringbacks evolve into their current state? Bringback is a name given to a humanoid creature covered in alternating black and white fur bands.
They generally have no mouths, and their eyes are abnormally large. Bringbacks are the minions of a Mound named Junior. Bringbacks apprehend and abduct unwilling people, bringing them to Junior Mound for his consumption. Once the hapless victims are devoured, they are forced through ritual transformations.
Bringbacks are drones and have no awareness of their own existence. Even so, they will defend themselves and their host Mound when threatened. Bringbacks generally stand over six feet tall with athletic builds. Bringbacks were born from the unholy union of Undom Endgle and her half brother, Torpedo Boy. I believe that I chose to develop this character because I wanted to see what it would look like if a Mound could run around on two legs.
It's a curious thing. Looking to the future, the derivative character wears a brown, red and ochre mask, a pattern that recurs throughout your work. My grandmother's house was the site of many family meetings. When I showed my folks that pattern, they immediately knew where it was from. I was three or four at that time. Recently, I incorporated the quatrefoil tile pattern into my painting practice, beginning the new saga. When I washed ashore to the West Village of Manhattan ina friend made an email introduction to Zaria Forman, whose pastel drawings of water and ice were beginning to attract a lot of attention.
We met in the candlelit caverns of a local speakeasy and Zaria told me the story about how she came to paint water. Zaria was born and raised in the metropolis of New York City. She grew up alongside her mother, Rena Bass Forman, also an artist, frequenting gallery openings and museum exhibitions. Infresh out of college, she and her mother made an expedition to the Arctic to photograph the changing landscapes.
Human development is slowing down The term juvenile persistence was pioneered by American biologist Stephen Gould and is an important theory of biology. It refers to the phenomenon that a species retains the characteristics of juvenile or even fetal period until after juvenile or even adulthood.
Juvenile status is a core feature of human evolution and has been driving the evolution of all species in the world. Juvenile continuation plays an important role in the evolution process. After multiple generations of evolution, it can cause certain organisms to maintain the juvenile state in mature individuals and form new varieties. This process is due to genetic mutations or interactions between genes.
For example: non-flying birds, that is, the larval nature of ordinary birds, can not fly to mature stage; For example, human juveniles continue to say that humans have no body hair and large heads, and retain fetal characteristics, and are curious and interested in learning to retain childhood characteristics; For example: some races retain the characteristics of lactase that can break down digestive lactase throughout life; For example, many types of pets, such as dogs, retain the characteristics of playfulness, intimacy, and other characteristics of their ancestor wolves, while losing the ferocious and killing characteristics of mature bodies.
Modern genetic science has found that persistence of juveniles is a unique phenomenon occurring in human evolution. Domestic and foreign research teams such as Kunming University of Science and Technology, the First Affiliated Hospital of Kunming Medical College, and the University of North Carolina in the United States have collaborated to build the first transgenic rhesus monkey model carrying a copy of human genes in the world, and successfully obtained 8 F0 generations.
And 3 F1 generation transgenic monkeys. Tracking brain development. Compared with close relatives and non-human primates, humans are slower and slower in development.
Social changes caused by continued slowdown We all miss our childhood, because childhood means liveliness and fun, innocence and enthusiasm, fearlessness and energy.
It allows us more time in our lives to live like children and have stronger learning and creative abilities. We will find that the slow-down state of leaders among countries leads to the ups and downs of state-to-state relations. Leaders also show a passion for a world of self-planning and a state of naive longing for technological innovation. The slowdown of juvenile behavior is very obvious in the United States. American culture cannot understand and accept any other culture, but it is younger in imagination.
In terms of color, form, product and narrative, etc. Juveniles also made Americans consider the United States Constitutional Maggies to be the gods of the nation. Americans now dare not repair their heritage, Breaks Scratch - Massimiliano Nevi - Promos Design Two (CD their ignorance will damage the constitution they have conceived with wisdom. Deep in the consciousness of Americans, he looks like a child compared to the founding fathers. Signs of maturity: responsibility and responsibility, perfect self-cognition system established through perception, february Newton discovered the law of gravity, generalized binomial law, calculus, optics at the age of 22, and gave a Breaks Scratch - Massimiliano Nevi - Promos Design Two (CD account at the age of At the age of 20, Einstein made bold conclusions about the fundamental connection between the nature of light and time and space.
Kant was a teacher and researcher who was curious about natural science before the age of He started philosophical research after the age of 53, and the logical thinking system he established brought a revolution in philosophy. It can be seen that the meticulous logical thinking that forms virtual thoughts can only be realized in a mature state. This era of electronic products is a dark age. It seems to make it easier to obtain information, but the explosion of information brought about by it is due to the imperfection of self-cognition logic and shrinking its world.
Acquiring information does not mean acquiring knowledge. The more imperfect information of self-cognitive logic will only lead to the lack of knowledge. Only by letting the soul of young people nourish the knowledge of the new, make its potential take root, and actively pursue this kind of self-knowledge of knowledge, the information increment of this era is of value. Contemporary art focuses only on the present.
Italy is the earliest developed country in glass use. Chinese architecture has always used paper-filled windows because its wooden structure cannot bear the weight of glass. China has always used porcelain because it drinks green tea and hot wine. The church building in Italy can fully bear the weight of glass, and cold water and red wine can be used for glass.
The demand has led to the vigorous development of the glass industry. Households have mirrors, As a result, art buyers constantly compare the portraits they have painted for themselves in front of a clear and undoubted mirror, and constantly put forward precise requirements.
Only then must the artist study the anatomy, thus laying the foundation for classical art. The European economy collapsed in the early part of the First World War. The people were boring. The government and the people needed fictional fantasy with more aesthetic art to realize the expectations for a better future. The Impressionism, which emerged with the help of optics and tin tube pigments, promoted the history of art and became an important genre one. The current information age has brought about a complete rupture of current people and history and tradition, and has lost the burden of thought.
In such a multifaceted evolution, it is no longer possible to define who is young and who is by age. Critics and collectors use works to judge whether an artist is young or middle-aged. When we see a year-old college student still painting realistic or impressionist works, we give him The. Contemporary art that dared to think and do is born and germinated in such an ecological environment. The more perfect your actual cognition, the more it will distort the world, and get farther and farther away from the public.
It is not an effective way to treat your work as a game of your childlike innocence. Third, do not blindly summarize and collect the existing materials.
In the previous issue, everyone was very supportive of the six rules of artistic creation. In this issue, we will refine the unique rules of contemporary art based on the six rules. Fourth, establish a deductive self-thinking model framework. Artists need to benefit from themselves. People with high self-efficacy are more resilient. They can also show their true dispositions and the true nature of the world through the creative process of their works.
Fifth, stay curious. Pretend will only make you grow older and faster. Not pretending that we can spend more time in our lives living like children, the benefit is: have a stronger ability to learn and create. Six, full of imagination. The philosophical ideas of great wisdom in modern times have begun to have no vitality, and high-speed scientific discoveries are being introduced, which proves that the more perfect the logical thinking structure, the more it will distort the world!
We are beginning to wonder if it is possible to be extremely stupid with extreme wisdom? Full of imagination, keep questioning everything and be a veritable contemporary artist. Arthur Schopenhauer. The body should Art in this case has the right to affirm and show the dignity of the body and of all possible genres.
Cultural egoism cannot and must not be an excuse to mortify and violate both the mentally and physically the body of others. It will be and is public at any time, choosing the deepest images, using art to tell the truth. Realizzate a mano su tutte le superfici ad eccezione di vetro e silicone. Aerografisti Italiani Riuniti. A creative process that should be studied within academies.
The artist Tan Jun brings back the image and the thought. Unfortunately, we cannot enter everything within this issue. Our intent is to later create a video for the artist. Thanks to a magnificent file received by the artist himself. Where, you can approach, both to painting and to the history of the country, traveled by dynasties to the present day. Sometimes artistic exploration is an adventure, and the destination is this process.
On the way, you can see the beautiful scenery and paths in different directions. So the trade-off becomes so important. It uses stick figure drawing to try to express the beauty of the working women in the ancient times. Background is irregular. Light brown is a combination of classic and contemporary. This work is inspired by minimalism and introduces the brush and ink technique of Chinese painting. Cancel the face content and leave it white, because the face of ancient beauty paintings all painted one The appearance, and leaving a blank can lead people to imagine its beauty, but also have a vague sense of vicissitudes.
At the same time, the gestures and clothing of ladies are sketched in simple sketches. The dry pen method vividly expresses the shape of the pleats. Infinite space is opened in an instant The softness and elegance of the flying sky are in sharp contrast with the geometric tetrahedrons surrounding it.
The white light on the left sprayed out, giving the whole picture a bursting atmosphere. Scraping the lines of the flowers and leaves with a painting knife can just show the feeling of time passing. Lives in Shanghai. Lying sometime somewhere To contemporary artists, art is an open thing, open to objects, to nature, to society and culture, even open to politics. Meanwhile, to express this openness, artists need to convert the art language into an art form.
And this conversion should possess its individual logo. In many of my performance photographs, I intend to express the concept of Harmony between nature and man, the greatest human idea ever to be expressed again and again and in the better way. First, I think an image which invokes questions tends to be an. Then I say to them that the places I choose to lie down are not the bed or sofa, which are private places.
The spots I choose are usually public ones, such as squares, parks, riverbanks, museum halls, etc. I thought to myself, I can also play as others do, but just in a different way, a bit dramatically.
So I lay down, sometimes rolled my body. While my performance was under way, some people were looking at me nearby and appeared a bit surprised. I later found such scenario is intriguing, with tourists in parallel with myself in same time and space. Or the scenario is of integration of realistic and surrealistic elements owing to my surrealistic intervention in the daily scenes. The big difference is that the Prague Square is very open to the public for entertainment and sight-seeing while the Tiananmen Square is a most politically sensitive venue, where any movement by tourists is highly in surveillance.
Even so, I did it. Another tentative answer is that I intend to present an anti-common behavior, because, lying in bed or sofa is a common daily behavior, while when you transfer your common daily behavior to the public space, the effect would be a rather provocative one. This is art I want to do, in an unconventionally posture. Or this is the performance art I want to perform, as art of performance is itself a conceptual art, with anti-common behavior as one of its chief characteristics.
I have workd hard and hard and never slacked off for decades long. Now I have made great achievements. I spoke to the world as an independent chinese artist. I have artworks more than one thousand pieces now and widely collected by collectors ,art galleries and cultural institutions at home and abroad.
There is an end to life but no end to art. I think it should be freedom of thought and it should be independent of art. I have been working hard all the time. It is no longer unknown, it has its own audience, some admirers, others disregard its foundations; especially those who apply the same evaluation parameters with these last words I have already antagonized QuantumArtists for any work of art. Some Italian artists boasted of having created and founded the movement from scratch, in fact, however, this is not the case; even early examples are found in Japan and, even beforein Italy.
We continue in order though; in Italy the origins of this particular artistic trend can be seen in the s more or less; through unofficial channels several artists joined it and only inexactly ten An artist of Quantum Art is characterized not by the ideals of cooperation, by safeguarding biodiversity, or by the intention of creating and elaborating his own works for the achievement of peace in the world objectives which other artists not belonging to the movement of.
It is these concepts that we will talk about, trying to make them more usable. It is therefore the entanglement that also underlies that relationship of harmony between the observer and the observed object. There would be a lot more to say about entanglement, but we will do it if the opportunity presents itself. Quantum Art is also characterized by the artistic interpretation of Hilbert spaces. Hilbert spaces have a linear structure in a vector space, it is therefore possible to speak of distances, angles, orthogonality.
These spaces are therefore, from an artistic point of view, three-dimensional and complementary to the spaces that the observer visualizes. Consciousness resides Stuart-Penrose in the microtubules of brain cells: primary places of quantum processing. Our experience of consciousness is the result of quantum gravity effects in these microtubules. Democritean atomism was in fact taken up by Epicurus, but also by Roman philosophers and poets, and - even - in the late Middle Ages some philosophers referred to, as well as thinkers of the Renaissance and modern world.
Atomism therefore is a natural philosophical orientation, of an ontological character, based on the plurality of the elements that constitute physical reality. Of the two philosophers, certainly, Democritus was the most prolific, even among the Presocratics; his pupil was Nausifane who later became a master of Epicurus.
Democritus, in the opposition between being and non-being, replaced that between atom and void; that is to say that the atom constituted being and emptiness referred to not being. However, scientific thought has been forgotten for over a millennium in the western Mediterranean; although it was taken over by Islam, then it was also forgotten by Islam for a long time.
Only in the seventeenth century, in Europe, was it rediscovered and finally deepened. Atoms were conceived as indivisible original particles, that is primitive and simple, homogeneous and compact quantities.
The emptiness thought up by Democritus did not indicate the existence of non-being, but the lack of matter, which coincided precisely with space. Full and empty they were seen as two original principles to which the existence of all things can be traced: one referred to the other, necessarily implied it, since reality was the result of their synthesis.
The atoms thought by Democritus possessed movement as their intrinsic and spontaneous characteristic: they moved eternally and spontaneously in the void, meeting and colliding. The becoming of the cosmos and of nature and the multiplicity of entities were due precisely to this incessant movement from which everything was formed and then disintegrated.
It is a Mediterranean ideal to pay attention to the fundamental problems and the lines of intersection between the various cultures, or rather, between the different articulations of culture. Respect for history is a very strong Mediterranean ideal. The art, the calls and capture of it. By saying ART, I consider a certain way of life, even in my daily life! Art for me is from its simplest application of everyday, observing a Harmony, Balance, Originality, Grace, in whatever I do, reaching to the most complex actions, in order to create conditions and works of art.
The infertility of daily life with its fast pace, rush and dry passage of events and experiences, leaves me with a bitter taste. A feeling that nothing is worth… nothing matters emotionally or as a creation of art. Depending on what I feel every day, I choose from the most superficial, for example dressing in color and style, to, more importantly, doing what is needed in an artistic way. Order, method, observation, harmonious arrangement and problem solving. For me, ART flows into our daily lives, in everything we do, either at home or in our working place.
Then, the results look more beautiful, more correct, more complete more fulfilled. In Greece, ART is in crisis! A natural consequence of the economic crisis it has been experiencing at a very high level in recent years.
Against this fact, however, the artists of every category went on the counterattack! They create feverish! They paint and participate more often and more creatively in artistic events! Music, Theater, Art Photography, Dance, has gone beyond commercial purposes, deeply social, with generous offerings and actions. The Greek creator, while experiencing frustrating amounts of material deprivation, tries to promote ART by the means he- she can, bringing a wonderful originality, complexity of creations and a humanitarian approach to his peers and to the general public.
The Greek creator is pulling his own path, alone, but with the support of everyone else, at least on the level of morality. Pocket art Studio was born in May Occasionally, exhibitions of other artist members are held or it is granted to associations of artists for group exhibitions. An artist that does not tire of searching herself, with the aim of achieving this goal by questioning herself EN during her trips illustrated in her works.
Her life is a permanent and indispensable departure. By their seductive silence the works of Mrs Berardicurti indicate us that the only way to penetrate the primitive world explored from time to time, is to remain alongside.
Otherwise you have to retreat to leave in that place precisely what, to be revealed, has to be necessarily spalled. This makes us becoming open to a passage in the direction of the dreamy imagination of the artist in the clarity of her feelings. The Blank is a cultural association born with the aim of spreading the passion for contemporary art in Bergamo and its province. ArtDate is the main event organized by The Blank, a weekend dedicated to art during which all the members of the network inaugurate and witness a plurality of collateral events, including inaugurations of exhibitions, talks, performances, opening of collections private houses, historic houses and artist studios.
What started the activity of The Blank Contemporary Art was, of course, the love for the city, a love that turned out to be shared by other artistic realities based in Bergamo and its province.
Thus, in an attempt to unite and with the ambition to create a single platform that contained and connected the most significant public and private Bergamo realities, what today could be called the main cultural network in Italy was born. The basic idea on which The Blank arose was to fill an empty space, which is the literal meaning of the term.
Bridging a deficiency, but also emphasizing what you already have, are the keys to the format adopted by the association, i. The Blank was born as a map, as a guide to discover the city. Over time and with the commitment of all, it has gradually turned into a contemporary artistic reality in itself, increasingly richer and heterogeneous.
Bergamo is a very rich city: it is home to important buildings, also UNESCO heritage, which overall enhance and characterize it. Sumptuous churches and splendid buildings are the potential locations for an event or exhibition organized by The Blank. Another point in favor of Bergamo is that it is a place of traditions and, consequently, has a certain identity, very much felt by those who live there. Over time, the return of the Festival, in terms of attendance and positive feedback, has increased more and more.
A result that is not at all obvious and the result of precise planning and strategy. To emerge, it is important to collaborate and support each other. ArtDate, the weekend dedicated to Contemporary Art in Bergamo, fully embodies this spirit.
During the Festival they inaugurate numerous public and private institutions and there are a number of collateral events, including studio visits, extraordinary openings of historic houses and private collections, concerts, conferences and performances. The program covers all time slots of the day and involves different targets: from the artist to the collector, from young people to the mature public, from professionals to general and curious spectators.
As I said, it is during ArtDate that the spirit of the association is manifested in the most heartfelt way: in this context the Bergamo realities collaborate with each other by animating the whole territory with a series of events, all united by the same will, that is to discover and exchange views on Contemporary Art.
During ArtDate, The Blank offers an efficient sponsorship service to galleries, collectors and individual artists. I remember that the purpose of The Blank. For years The Blank has been collaborating for the realization of exhibitions and events with various territorial institutions, not only closely linked to the artistic and cultural context, but also, for example, social and health. The rampant example is the project, which ended in the creation of a site-specific and permanent work, which involved the artist and musician Lorenzo Senni and the Papa Giovanni XXIII Hospital in Bergamo.
The Blank organizes large events of national and international relevance, promoting social growth, integration and participation through Contemporary Art. It also promotes access to artistic heritage for young people and people at risk of marginality, for whom the LISten project is representative. LISten Project was born last year, inand as a first step it provided the training of cultural mediators who became real staff members. During the. The Blank Residency allows first of all to develop a specific project presented during the application.
We try to make available to the artists all the knowledge we have in the area and which can often be useful and stimulating to develop certain projects. The Blank is very grateful to all the artists he works with, for which he continues to follow and promote their work through their own communication channels.
Bergamo likes the artists it hosts because it combines historical and contemporary culture. And it is precisely in support of the city of Bergamo that The Blank was born, of which it became the vehicle of its identity. We move on a double track: we pay close attention to young artists, to whom we offer residences and publications, and to those of international weight, to bring big names to interface with a rich and varied context such as that offered by Bergamo.
In fact, it is also thanks to The Blank that Bergamo is today a reality that artists from all over the world know and where they know they can have a base of support. Usually, once the residence is over, the artist exhibits the work or works that he created during the period at The Blank on a specially dedicated evening, or an exhibition is held in a host space that will then remain open by appointment, giving thus a wider visibility and giving the possibility to carry out study visits or other.
The result? Informal dinners in which enthusiasm predominates and in which the normal rules of being at the table fail. What is created is an even more friendly atmosphere than what is already inherent in the association. The last Kitchen took. The project that we have been carrying out for years in support of our initiatives is The Blank Benefit. In this case, as happens in every usual gallery, The Blank acts as an intermediary between the artist and the buyer for the sale of a series of works created specifically for and in support of the association.
The last artist to participate in the Benefit was Giuseppe Stampone, who presented a new series created with Bic, Sale pens, which has as its theme the commodification of art, which he compared to the big fashion brands.
It is therefore a criticism of the mechanisms concerning the market and the art system itself. The next events that we would like to point out are the reconfirmed annual collaboration with the Bergamo Film Meeting which will take place in conjunction with their Festival, now in its 38th edition, and which will take place from 7 to 15 March In the case of collaboration with the Bergamo Film Meeting, we select an artist who we think best expresses the union between art and cinema, on and with whom to create a personal exhibition.
To conclude, the last appointment not to be missed and to be marked on the agenda is, I talked about it before, ArtDatethe highlight of The Blank. The theme of this edition is still a secret, but we plan to reveal it over the course of this summer.
However, we can reveal the dates: we are waiting for you from 12 to 15 November. Si organizzano anche eventi privati e aziendali che uniscono entrambe le anime della galleria.
Il cantiere ha sposato alcuni artisti che espongono permanentemente le loro opere, tra essi ritroviamo Paolo Socal, Paolo Forte, Stefano Bernardi e Paola. Benzoni, artisti che popolano il nuovo panorama contemporaneo. Le altre pareti sono dedicate alle nuove proposte che a rotazione, grazie alle Call For Artists e alle collaborazioni con altre gallerie e concorsi vengono riallestite con nuove opere.
The Cantiere Art Gallery presents itself in the artistic panorama of Treviso as a breath of fresh air; we are talking about an innovative art gallery that makes the beauty of contemporary art accessible to everyone. The spread of art occurs spontaneously: the customer is put at ease to the point of stimulating in him a natural curiosity towards the works that surround him, of which he will ask for information and methods of purchase: we are not only talking about connoisseurs of this world but also of real neophytes whoin a common gallery, they would be embarrassed even to ask the value of the works or to be approached by a gallery owner.
The recipe is the union of a cocktail bar with dishes to be enjoyed comfortably in the lounges in every corner of the gallery, surrounded by the beauty of the works of art that live on the walls. The Shipyard was born in the spring of inside a square meter industrial loft entirely renovated to offer a unique experience to the public.
The ART Gallery Shipyard is a place of constant change: the activities carried out inside it are in fact very varied and range from vernissages to competitions for artists, from painting courses to conferences.
We also organize private and corporate events that unite both the souls of the gallery. The shipyard has married some artists who permanently exhibit their works, among them we find Paolo Socal, Paolo Forte, Stefano Bernardi and Paola Benzoni, artists who populate the new contemporary panorama. The other walls are dedicated to the new proposals which, thanks to the Call For Artists and collaborations with other galleries and competitions, are rearranged with new works in rotation.
All the works exhibited in the gallery bear an identification tag with author, technique and price; in this way, that embarrassment wall is eliminated which leads us to linger in asking for the cost of the work that we would like so much on the walls of our home. The brilliant idea of an art gallery of this type, probably the only one in Italy, was born thanks to the efforts of three young Venetians who were able to open an art gallery in an innovative space and then adapt it to the needs they read in customers who gradually began to populate this magical place.
The format was a winning result: at the shipyard it feels a bit like home, thanks to the skill and professionalism of the whole team, always ready for our every need. We are Italian artists, we make unique jewelry in bronze, silver and gold. The method of processing the materials we use is the result of a study handed down from generation to generation to preserve the quality and exclusivity of the final product.
The beautiful flower market in Amsterdam is located one of its characteristic canals and makes the whole street that runs alongside it full of colors and scents. In this shot I wanted to capture various aspects typical of Album) Dutch city. The bicycle parkings linked everywhere in the city, the houseboats on the canal and the characteristic crooked buildings that fill the city.
One of the cities where I left my heart and would like to return again. Bicycles are the preferred form of transportation in the Netherlands. In this photograph I wanted to portray the shadows of a typical Dutch parking lot. I shot a whole day for this beautiful city, crossed by the river with a very old part and another completely modern area.
This was my first shot on arrival, the skyscraper next to the ancient building with the dome, the river and the typical Irish gray sky. Every now and then, walking around the center and along the banks of the river in Dublin, you will find bronze people, sculptures that recall important people and events in the city. These were the Statues of Famine, in memory of a great famine of Dublin is a city full of contrasts.
A city where you can find the typical Gothic church next to the glass and iron skyscraper and a little further a colorful pub. I shot it for a whole day and I was very impressed by these unusual combinations. Parigi One of the most beautiful churches I have seen in Paris, its stained glass windows have impressed me deeply and the light that entered from these huge colored windows made everything magical. Paris was a city that fascinated me greatly.
All its neighborhoods have their own beauty, and looking at it all together from above, the roofs, the chimney pots of the chimneys with the Eiffel Tower rising in the horizon. A city where I will definitely return. I was returning to the Louvre during the blue hour, when I took this shot of one of the bridges that cross the Seine, a beautiful river.
As soon as you arrive in London you cannot fail to admire Big Ben in its majesty and architectural complexity. In this shot I wanted to represent it in a somewhat unusual way, with a perspective from below accompanied by the beautiful street lamps of the square below. Londra The last time in London I found myself at the right time in the right place, and I met the changing of the guard with the greeting ceremony.
Beautiful horses ridden by men in uniform with fantastic cloaks. I love animals and these profile portraits both to the horses and to the knights of the royal guard had struck me. Beautiful black horses in contrast with the red cloaks of the guards and their golden headdresses. Beautiful scene. Praga A night photo taken on Charles Bridge, one of the few times to photograph this Prague monument without too many people passing through it.
In the background the castle and in the foreground two of the beautiful statues that characterize this beautiful bridge. The river that runs through Prague is full of life in spring, pedal boats of all shapes and colors, boats, swans, the meadows on its banks full of people sunbathing. In this shot also the Charles Bridge teeming with people and the Prague Castle.
Reykjavik Church, Lutheran place of worship in the Icelandic capital, seems to want to touch the sky. Fully stretched upwards, with its Reykjavik is a city full of colorful, beautiful and very characteristic houses throughout Iceland, with pitched roofs and coverings that help keep houses warm in a country where winter is very cold.
I miei occhi dal backstage al centro del mondo. Secondo il Dr. Sono tutte operazioni che alterano la bellezza di una persona e sicuramente non in meglio. I grossi numeri sono sempre legati ad interventi di mastoplastica, rinoplastica e liposuzione - spiega il Dr Napoli - ma. Ma da qualche anno — prosegue il Dr. Una giramondo instancabile, la mia Player Balossa, perfetta nei suoi outfit di tendenza, mostrando la doppia anima del Brand, sapientemente mixata. Indra Kaffemanaite aggiunge … I capi della mia Player sono iconici, basilari, unici, le mia donna ideale ha imparato, non solo a vestirsi, ma ad interpretare la moda, servirsi della moda, usare la moda per conquistare maggiore attenzione e diventare protagonista.
Una passerella ideale con la sua. Gennaio Faggioli Atelier sceglie con estrema cura i pellami, i modelli e le strutture delle borse, ma anche i dettagli quali chiusure, borchie, cuciture e tracolle di alta gamma, caratterizzati da un attento processo di realizzazione dove artigiano vuol dire mani e cervello, la tecnica viene dopo, ma prima di tutto far fare alle mani quello che il cervello pensa, crea, decide, sogna….
The fascinating Ambassadress and Master of Ceremonies Lorena Baricalla has, as always, shown her great talent, her unparalleled beauty and experience in the entertainment world by presenting, in 5 languages, the extraordinary Gala during which, in addition to the Award Ceremony, there were various moments dedicated to entertainment and, of course, to her superlative artistic performance. A golden outfit by the great scenic effect, which has highlighted even more her seductive and graceful femininity, composed of a pleated silk satin maxi cape with a sparkling sequins dress, draped on one side, by the unparalleled brilliance.
A very special look that Lorena Baricalla interpreted with great class and elegance, perfect to wear on an International fame stage. In the s, Marilyn. The majestic cape, like the corolla of a flower, is narrow to the waist and with a very wide and voluminous skirt, six meters long, fabulously elegant.
Under the cloak, the brilliant sequins mini dress, totally handmade, is perfect for giving on the stage a dazzling glow, for a hyper-feminine and glamorous style.
The wonderful creations by the talented fashion designer have been very successful in Monte-Carlo, a symbol of extreme luxury, great charm and sophistication just like the outfits signed Fabiana Gabellini Made to Measure.
Spring Collection. Fabiana, artists and fashion brands have been collaborating since the 60s, first of all Gianni Versace who broke all barriers, as well as Yves Saint Laurent who dedicated an entire collection to modern art, how did your project Art to Wear come about?
What are the characteristics that a work of art must have to fascinate you so much as to convince you to turn it into a dress?
When and how did the idea of being not only a fashion designerbut also awritercome about? You presented in Rome a capsule collection dedicated to Springwhat inspires it and what kind of woman is it ideally dedicated to? The capsule collection is cheerful and jaunty, it is dedicated to a woman who loves life, who prefers lively and extremely up-to-date looks. The Spring capsule collection interprets the current lifestyle in the best possible way with taste and creativity, playing with the volumes and embellishing the garments to obtain a glamorous but.
A mix of looks with a casual mood in a combination of refined colors and original details. Oversized and super comfortable outfits, some of them taken from the paintings by the artists Leonardo Nobili and Paola Zannoni, representing the heart of an excellent street style. A collection that reveals extraordinary balances between tradition and innovation, reinterpreting in a contemporary key the woman of the third millennium, projected into a crazy world in which she lives intensely without ever losing her femininity.
Music Studio (Album), a Studio on Scratch. This is the Music Studio kind of like a album I will add songs. P.S. I will try to post 1 to 2 songs a week because if I . Jun 14, · Massimiliano Nevi,Fabio Di Bari 0MgRUPuzjANB5Y13HVF4up Infection Ivan Greyberg Solaris Vibe 0Mm11N9SLPTpkIsMqQjoFw Negro no Cais 0MoBHG5MO3Rt9YLZmc8Gqd Mussorgsky: Boris Godunov, Act 2: "Where are you, my betrothed" (Xenia, Fyodor) 0Mpm7u13Wna94KurGyXFfK Shhh 0MrwMbjpuVLdQxVxGlLVGm . Jun 27, · Album How Old Are You? Scratch Break - The Force Swiftstyle , views. 15 Min Mix Vinile anni 90 con scratch Vynil Scratching Analogic Consolle - .
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Jun 14, · Massimiliano Nevi,Fabio Di Bari 0MgRUPuzjANB5Y13HVF4up Infection Ivan Greyberg Solaris Vibe 0Mm11N9SLPTpkIsMqQjoFw Negro no Cais 0MoBHG5MO3Rt9YLZmc8Gqd Mussorgsky: Boris Godunov, Act 2: "Where are you, my betrothed" (Xenia, Fyodor) 0Mpm7u13Wna94KurGyXFfK Shhh 0MrwMbjpuVLdQxVxGlLVGm .
Old Navy provides the latest fashions at great prices for the whole family. Shop men's, women's, women's plus, kids', baby and maternity wear. We also offer big and tall sizes for adults and extended sizes for kids. ArchLove is a new art and culture magazine, created on cultural exchanges between nations. A new showcase for artists, galleries, writers who want to show their work and ideas.
Em Maio de Brendan Perry deixou esta mensagem no seu site: “I have been talking with Lisa Gerrard this past week with regard to recording a new DCD album this coming winter. We hope to complete the album by the summer of and then embark on an extensive two month world tour in late ”.
Somebody Will - Terry McBride & The Ride* - Terry McBride & The Ride (CD, Album), Down On The Street - The Stooges - Fun House (Vinyl, LP, Album), The Light Of Love - Gerry Rafferty - On A Wing & A Prayer (CD, Album), Coloquinte, Eddystone Light, Red wing - Kid Thomas And Louis Nelson - Dinah (Vinyl, LP), Look Ahead (Extended Mix), Ive Been To Town - Rod McKuen - At Carnegie Hall (Vinyl, LP, Album), Me Siento Solo - Adanowsky - Amador (Vinyl, LP), Untitled - Paul Lukwago - Born For A Purpose (CD), Romeo And Juliet Fantasy Overture - Various - Classics Around The World Vol. 3 (Vinyl, LP, Album)