CG: Modelling - Texturing - Illumination - Rendering| Alex Roman
Post: Postproduction & Editing| Alex Roman
Music: Sequenced, Orchestrated & Mixed by Alex Roman (Sonar & EWQLSO Gold Pro XP)
Sound Design by Alex Roman
Based on original scores by: Michael Laurence Edward Nyman(The Departure), Charles-Camille Saint-Saëns. (Le Carnaval des animaux)
Directed by Alex Roman
Done with 3dsmax, Vray, AfterEffects and Premiere.

-

"The Third & The Seventh" is a project: Architecture through the cinematographic lens, the visual function between the third and the seventh arts.

Official site of "The Third & The Seventh"
Alex Roman on Vimeo

'레닌 르네상스'…그가 돌아왔다! - 장석준 / 프레시안, 2010-02-06

 ... 이번에 나온 <레닌 재장전>도 여기에서 예외가 아니다. 편저자 중 한 명으로 지젝의 이름이 보인다. 그리고 그의 글도 한 편 수록되어 있다. 사실 이 책에 실린 글들의 집필 시점은 앞에 소개한 책들보다 앞서 있다. 비록 영어본이 나온 것은 2007년이지만, 2001년에 독일에서 열린 '진리의 정치를 향하여: 레닌의 복구'라는 국제 심포지엄의 발표문들을 모은 것이기 때문이다.

... 여기에서 우리는 지젝이 주목하는 레닌이 그의 수많은 얼굴들 중에서도 특히 1917년의 레닌임을 주목해야 한다. 차르 정권에 맞서기 위해 지하 정당을 만들던 <무엇을 할 것인가>의 레닌도 아니고, 민주주의 혁명의 승리를 위해 불철주야하던 <민주주의 혁명에서 사회민주주의의 두 가지 전술>의 레닌도 아니다.

이미 민주주의 혁명이 승리한 상황에서 사회주의 혁명을 향해 곧장 나아가자고 주장하던, 1917년 2월부터 10월 사이의 레닌이다. 지젝이 여러 레닌들 중에서도 유독 이 시기의 레닌에 주목하는 것은 이 시기의 레닌이 펼친 그 '정치'가 지금 우리 시대에 절실히 필요하다는 판단 때문이다. 이 시기의 레닌의 정치는 마치 무소불위인 것처럼만 보이던 전 지구적 자본주의의 구조에 결정적인 균열을 가하는 역사적이자 집단적인 행위였다.

... 이들 필자의 글들에서 일관된 것은 레닌의 특정한 주장을 반복하거나 그의 권위를 강조하기보다는 그가 1910년대(그러고 보니 지금으로부터 정확히 100년 전이다)의 시간들을 어떻게 마주하고 이와 대결했는지에 주목한다는 점이다. 이들은 하나같이 그 순간들, 그 속에서 레닌이 취한 포즈를 되새기려 한다.

이것은 곧 지젝이 "레닌주의적 제스처"라고 말하는 바이기도 하다. 지젝은 다른 공동 편저자들과 함께 쓴 '서문'에서 이를 "상황에 개입하겠다는 결단"이라고 풀어 말한다. "필요한 타협을 하고 현실적인 요구에 이론을 맞추려는 실용주의적 의미가 아니라, 오히려 반대로 모든 기회주의적 타협을 물리치고, 오직 일이관지하는 급진적 입장(이를 통해서만 우리의 개입이 상황의 배치를 바꿀 수 있는 방식으로 개입할 수 있다)을 채택한다는 의미에서" 개입한다는 결정.

신자유주의의 범위를 넘어서는 정치적 선택 자체가 금기시돼온 지난 30여 년간의 시대를 끝내려면, 바로 이러한 제스처를 통해 한 시대를 갈라야 한다는 것이다. 100년 전 그것이 1917년 10월 러시아 민중들을 통해 작렬했다면, 우리 시대에 그것은 어떠한 모습으로 출현할 수 있을 것인가? 혹은 어떻게 분출시킬 수 있을 것인가? ... (more)

Walking in the clouds


Alkazaar

http://www.youtube.com/watch?v=-iLtycaM5bY  Sunrise
http://www.youtube.com/watch?v=5ZAYLsnLmKQ  Where R We Now

Pink "Glitter in the Air"


Tribute to Michael Jackson "Earth Song"

+

..oh....Pink, nothing to say. Saying aside, congratulation for your successful come back, Maxwell!

"Dakis Joannou" by Chris Bors / artinfo, February 1, 2010

Collector Dakis Joannou defends his role in "The Imaginary Museum: Dakis Joannou Collection," opening at the new museum this month.

NEW YORK—When the New Museum announced that it was presenting an exhibition, curated by Jeff Koons, of the collection of Greek Cypriot Dakis Joannou — which includes works by Maurizio Cattelan, Cady Noland, Tim Noble and Sue Webster, and Kiki Smith, to name just a few — it triggered a tidal wave of controversy. Bloggers, art critics, and reporters pointed to several perceived improprieties in the museum’s showing the pieces, the principal ones being that Joannou is a private collector as well as a trustee of the institution and that among his holdings are 40 works by Koons, the curator. Somewhat overlooked in the ethical debate are the scope and importance of the assemblage. Despite the grumblings and even calls to scrap the show entirely, many look forward to seeing the works in the U.S. for the first time. Chris Bors spoke with Joannou about the forthcoming exhibition, the history of his collection, and the mission of the Deste Foundation, which he founded in 1983.

... Can you talk about your foundation?

The goal of the Deste Foundation is to be involved in a dialogue about contemporary art. I started the foundation three or four years before [I started] the collection. What is important for me is the context of Deste and not just the collection: It is about relationships, working with people, working with friends, and coming up with interesting ideas. It sets what I am doing apart from other collectors. One aspect is showing the collection from various points of view, as in the exhibition "Fractured Figure" [2007-08]. The other activity is to support and promote contemporary art in Greece, creating a platform for younger Greek artists with the Deste Prize, which is awarded every two years. Since the foundation began, it has presented 40 shows, half based on the collection and half not. Ever since the foundation started, it has had a very open approach with engaging others.

Did the appearance of your collection at the Palais de Tokyo, in Paris, in 2005 and in joint shows at the Kunsthalle and the MUMOK, in Vienna, in 2007 cause controversy?

This is a very important question, because it shows how the collection has a history of collaboration and the breadth of the venues. It was very positively received in both Paris and Vienna. In France the minister of culture gave a big speech and thanked me for making it available there. The Palais de Tokyo originally wanted to have the exhibition "Monument to Now" [2004-05], which was shown at the Deste Foundation in Greece during the Olympics, and I told them, "No, why don’t you do your own show?" So the curators Nicolas Bourriaud, Jérôme Sans, and Marc Sanchez came up with "Translation." With "Traum & Trauma," in Vienna, I made my collection available, but they chose the pieces. Both at the Palais de Tokyo and in Vienna, it was their show.

How did the exhibition at the New Museum come about?

I have known [New Museum director] Lisa Phillips since the mid-1980s, and [museum curator] Massimiliano Gioni was one of five curators of the Deste Foundation exhibition "Monument to Now." I have also known [chief curator] Richard Flood since he was working at Barbara Gladstone. They asked me to do an exhibition based on the collection. It’s as simple as that. It’s not really about showing the collection, though. You would need 10 times more space.

Can you discuss Jeff Koons’s role?

The New Museum asked Jeff to be the curator. I didn’t even expect he would accept the proposition. What is shown is not up to me; it depends on what Jeff chooses. If the New Museum had said it wanted to curate the show itself, I would have also agreed. The very first show Deste presented, in 1988, "Cultural Geometry," was curated by the artist Haim Steinbach. It has always been my idea to have a very open approach and to engage artists and curators to have a dialogue with the collection.

What do you want viewers to take away from the New York exhibition?

It is not that I just wanted to show my collection in New York. It is about the history of the collection and how it has always been a collaboration between artists, curators, and myself. The New Museum simply followed on that pattern. People can still hate the exhibition if they want to. That’s fine. But I want the facts to be out.

"Dakis Joannou" originally appeared in the February 2010 issue of Modern Painters.

images in this article

-

Official page of the controversial coming-soon exhibition "The Imaginary Museum: Dakis Joannou Collection, Curated by Jeff Koons", 3/3/10 - 6/6/10 at New Museum, New York is now open. And the official site of DESTE Foundation for Contemporary Art by Dakis Joannou here.

1.

The latest exhibition of Dakis Joannou Collection was "A GUEST + A HOST = A GHOST, Work from the Dakis Joannou Collection", May 7 – December 19, 2009 at DESTE Foundation for Contemporary Art, Athens, which was curated by Massimiliano Gioni and design by Cecilia Alemani, Maurizio Cattelan, Urs Fischer. It included art works by Pawel Althamer, Maurizio Cattelan, Paul Chan, Nathalie Djurberg, Marcel Duchamp, Urs Fischer, Robert Gober, Jeff Koons, Paul McCarthy, Seth Price, Gregor Schneider, Kiki Smith, Kara Walker, Andro Wekua, Franz West. installation views on DESTE Foundation homepage. This foundation was set up in 1983. For more vivid installation shots, visit past posting by Regine, November 4, 2009 on we make money not art.

2.

The first huge presentation of Dakis Joannou Collection outside of Greece was "TRANSLATION", 23 June - 18 September 2005 at Palais de Tokyo, Paris, curated by Nicolas Bourriaud, Jérôme Sans, Marc Sanchez. Its participant artists were Vanessa Beecroft, Michael Bevilacqua, Ashley Bickerton, Cai Guo-Qiang, Maurizio Cattelan, Verne Dawson, Matt Greene, Mike Kelley, Jeff Koons, Joseph Kosuth, Liza Lou, Takashi Murakami, Ningura Napurrula, Shirin Neshat, Cady Noland, Chris Ofili, Gabriel Orozco, Yinka Shonibare, Shahzia Sikander, Kara Walker, Nari Ward, Christopher Wool, and especially M/M Paris collaborated with them for diaplay design. see the pictures on "TRANSLATION" page of Palais de Tokyo.

3.

The second one is "Dream & Trauma: Works from the Dakis Joannou Collection, Athens", 29. 06 - 04. 10. 2007 at MUseum MOderner Kunst(MUMOK) & KUNSTHALLE wien, Vienna. It was a joint project with Kunsthalle Wien and MUMOK, and the curators were Edelbert Köb (Director MUMOK), Gerald Matt (Director Kunsthalle Wien), Angela Stief (Kunsthalle Wien). The exhibition included wroks by Pawel Althamer, Tauba Auerbach, Hisham Bharoocha, Maurizio Cattelan, Paul Chan, Nigel Cooke, Gregory Crewdson, Gerald Davis, Brian DeGraw, Nathalie Djurberg, Marcel Dzama, Olafur Eliasson, Urs Fischer, Naomi Fisher, Saul Fletcher, Barnaby Furnas, Anna Gaskell, Robert Gober, Matt Greene, Oliver Halsman Rosenberg, Adam Helms, Cameron Jamie, Dorota Jurczak, William Kentridge, Jeff Koons, Friedrich Kunath, Matt Leines, Ashley Macomber, Paul McCarthy, Tim Noble/Sue Webster, Chris Ofili, Poka-Yio, Dimitris Protopapas, Georgia Sagri, Aurel Schmidt, Cindy Sherman, Dasha Shishkin, Kiki Smith, Nedko Solakov, Christiana Soulou, Alex Stein, Nari Ward, Christopher Wool, Ralf Ziervogel. press images on the page of exhibition of KUNSTHALLE wien. and video of "Dream and Trauma" on Vernissage.tv, June 27, 2007

Matthew Barney
27 Jan 2010 – 06 Mar 2010
Sadie Coles HQ, London

Encased in self-lubricating plastic frames, Barney’s highly intricate drawings mirror the themes and iconography of all seven acts, and variously allude to masquerade, mythology and the cycle of death and reincarnation. Enigmatic and organic, the drawings are delicately realised in graphite and ink: Osiris is shown sitting on a watery black throne; a blindfolded figure with multiple top hats takes spectral shape against a network of fine lines in a reference to the late performance artist James Lee Byars and his trademark costume. Diagrammatic and textual elements underline the drawings’ allegorical nature, such as the five-cornered polygon labelled “Five Points Make a Man”, a Byars title derived from Leonardo’s Vitruvian Man. Several of the works also contain alchemical ingredients – gold, silver and copper leaf and bright blue Lapis pigment – investing them with an aura of sacred and archaic merit.

The show also features working storyboards for the Ancient Evenings project, installed in seven freestanding cabinets and consisting of photography, clipart, drawing and collage. Like the drawings, these form a conceptual analogue to the performance. In contrast to the narrative sequence of a conventional storyboard, they assemble central motifs in a nonlinear fashion, hinting only elliptically at their interrelationships. The sculptures in the exhibition further exemplify Barney’s forensic strategy of isolating and recombining certain materials to reveal their physical progress – copper, halite, polyethelene, gold plate, magazines and salt – and create totemic objects.



Images copyright the artist, courtesy Sadie Coles HQ, London
Large images here, SLAMXHYPE

-


Matthew Barney on Wiki

... Most recently, Barney has explored live performance before an audience. The pieces Ren and Guardian of the Veil revisit the language of the Cremaster Cycle, via a ritualistic exploration of Egyptian symbolism inspired by Norman Mailer's novel Ancient Evenings.

In June 2009, a collaboration between Barney and Elizabeth Peyton, entitled Blood of Two, was performed for the opening of the Deste Foundation's exhibition space, the Slaughterhouse, located on the Greek island Hydra. The two-hour performance involved divers retrieving from a nearby cove a vitrine containing drawings which had been submerged for months. A funeral-like procession of fishermen carried the case up a winding set of stairs. At one point, a dead shark was laid on the case, and the fishermen proceeded to the gallery space, carrying the case and shark, accompanied by the onlookers and a herd of goats. At the Slaughterhouse, the case was opened, water poured out, and the drawings revealed. The shark was eventually cooked and fed to the guests.

Official Site of "BLOOD OF TWO: MATTHEW BARNEY & ELIZABETH PEYTON"(June 16, 2009 – Spring 2010) at Slaughterhouse, DESTE Foundation Project Space, Hydra

"Now Viewing | Blood of Two" by ITEM IDEM / The New York Times Style Magazine Blog, June 17, 2009
"Greek Mythology" by Linda Yablonsky / Art Forum. June 23, 2009

"A death ritual full of cliches: Matthew Barney's REN" by Christopher Knight / The LA Times, May 20, 2008
Ren Faire, Los Angeles / ArtForum, 05.22.08
"TRUE PERFORMANCE" by Heather Davis / The Briefing Room, SVC, July 22nd, 2008

Michael Rakowitz: The worst condition is to pass under a sword which is not one's own
22 January – 3 May 2010
Level 2 Gallery, Tate Modern, London

Michael Rakowitz works as a cultural archaeologist, uncovering an unexpected network of connections between historical fact and fantasy. The worst condition is to pass under a sword which is not one's own traces links between western science fiction and military-industrial activities in Iraq during and after Saddam Hussein's regime.

Through a series of interwoven narratives this project addresses, among other things, the Iraqi leader's fascination with the iconography of Jules Verne's novels and the Star Wars films, and the World Wrestling Federation's unique take on Gulf War politics.

The project centres on the Swords of Qādisiyyah monument in central Baghdad. This triumphal arch, otherwise known as the Hands of Victory, was inaugurated on 8 August 1989. The invitation card for the opening ceremony featured the heroic proclamation, "The worst condition is for a person to pass under a sword that is not his own or to be forced down a road that is not willed by him." Rakowitz explores the multiple references and resonances of the Victory Arch, from the history of its design to its use as a backdrop for military posturing.

In this and other aspects of the project the artist explores how powerful contemporary mythologies derived from popular culture have informed the collective unconscious. Fictional characters from Darth Vader to Sgt. Slaughter coexist with historical figures in Rakowitz's symbolic universe, in which warrior fantasies transcend the alleged divide between east and west.



All images via Tate Modern, and Courtesy the artist and Lombard-Freid Projects

'ARTISTS with ARARIO'
02.09 - 03. 21, 아라리오 갤러리, 천안
02.09 - 03. 30, 아라리오 갤러리, 서울

아라리오 갤러리는 열여덟 명 작가들의 대표작을 최초로 함께 선보이는 “ARTISTS with ARARIO” 전을 서울과 천안에서 동시 개최한다. 이는 전속작가제를 도입, 시행해 온 지난 5년여 동안 아라리오와 소중한 인연을 맺어온 작가들의 작품 성과와 지난 뜻 깊은 순간을 기억하고, 대중에게는 한국 현대미술계의 대표작품들을 만나 볼 수 있는 기회를 제공할 것이다.

... 2011년 싱가폴 국립미술관 개인전을 앞두고 있는 강형구, 2008년 영국 맨체스터 시립 미술관에서 한국작가 최초로 개인전을 개최한 권오상, 2010년 아라리오 갤러리 뉴욕에서 전시 예정인 이동욱, 2007년 베니스비엔날레 한국관에서 개인전을 개최한 이형구, 2008년 파리 루이비통 전에 참여한 정수진 등은 국내보다 해외 미술계에서 작품판매와 전시가 활발히 이뤄지고 있는 작가들이다. 또한 그려진 사물과 공간을 통해 내러티브를 만드는 공시네, 작품 속에서 환각의 찰나를 상기시키는 경성현, 검은 연필과 차가운 흰 조각의 대비 김인배, 견고한 나무조각 인형 작품의 김재환, 토끼 작가 김한나, 그라인더로 형태의 움직임을 전달하는 박영근, 자신의 풍경세계를 그리는 박세진, 종합 예술인 백현진, 흑연으로 몬스터의 이야기를 쓰고 있는 이승애, 서로 다른 시 공간을 넘어선 회화를 보여주는 이지현, 오랜 사물이 살아있는 듯 묘사하는 이진용, 다양한 매체로 글로벌리즘에 대한 비판을 하는 인도 작가 탈루L.N, 필리핀의 굴곡진 사회와 역사를 작품에 반영하는 레슬리 드 챠베즈등 모두 아라리오를 대표하는 작가들이다.

... 이번 전시 “ARTISTS with ARARIO” 에서는 갤러리를 대표하는 열 여덟 명의 각기 다른 오리지널리티를 지닌 작품을 통해 다채로운 담론의 장을 마련하고자 한다.

images

오용석: Classic
2010. 2. 4 - 28
갤러리 현대 16번지, 서울

오용석 작가는 서로 다른 시간대에 존재하는 동일한 장소와 일상을, 혹은 동일한 시간대에 존재하는 다양한 공간을 사진과 영상을 이용하여 적절히 배합하여 하나의 풍경으로 만들어내는 특유의 영상꼴라쥬를 선보인다. 작품 안에는 스크랩된 사진이나 직접 찍은 사진, 영화 속 장면들, 실제 그 공간을 방문하여 임의적으로 만들어낸 영상 등 다양한 방식으로 모은 이미지가 혼재해있다. 정적인 이미지로 대변되는 사진과, 동적인 이미지로 대변되는 영상이 적절히 배합돼 이루어진 작품은 사진작업을 동적인 이미지로 영상작업을 정적인 이미지로 비춰지게 하는 시각적 아이러니를 보여준다.

오용석의 이번 신작들은, Classic이라는 주제에서도 알 수 있듯이 과거 작가의 기억 속에 자리한 한 장의 사진에서 출발, 사진 속 추억을 끄집어 내는 작업에서 시작한다. 한 장의 과거 사진에 기인해 사진 속 현실에서 실제 존재했을 법한 상황을 상상하고, 실제로 재현하여 가상의 현실을 만들어낸다. 영상 작품과 함께 전시된 소품들은 사진 속에 실제 있을 법한 사물 그리고 실제 관련된 사물을 재현한 것이며, 그것이 실제 영상 작품에 교묘히 배치되어 존재하고 있다. 이로써 오용석의 작품은 실제와 허구의 경계선 상에서 결국엔 현실이 허구가 되기도 하고, 허구가 현실이 되기도 하는 묘한 분위기를 자아낸다.

새롭게 문을 여는 공간, 16번지에서 개관전으로 마련된 이번 오용석 개인전은 그만의 작품세계를 심도 있게 살펴볼 수 있는 좋은 기회가 될 것이다. 또한 보는 이에게 나름의 기억과 추억을 떠올리며 향수에 젖게 하는 특별한 경험을 선사할 것이다.



more images and biography

-

40돌 맞은 ‘갤러리현대’ 도형태 대표 “사회환원 나서는 화랑 만들것” / 한겨레, 2010-01-13

... "올 하반기 영상 회화 작가 세라 모리스, 세계적 사진가 토마스 슈트루트의 개인전을 국내 최초로 열 계획입니다. 슈트루트가 지금 우리나라의 스펙터클한 광경을 찍고 있는데 제가 5년 넘게 공을 들인 전시입니다. 그리고 소격동 본관 옆에 ‘16번지’라는 새 전시공간을 다음달 엽니다. 우리 현대미술의 순수한 피들이 흐를 수 있는 실험적인 전시장으로 만들겠습니다."

[사람들] 40주년 갤러리현대 도형태 대표 / 연합뉴스, 2010-01-08

... 그는 또 다음달쯤 갤러리 현대 본관 신관 인근에 대안공간적 성격과 상업화랑의 성격을 함께 갖춘 전시공간을 '16번지'라는 이름으로 개관하는 등 실험적 성격의 신진작가 작업에도 관심을 기울일 계획이다.

갤러리현대 프로젝트 전시장 ‘16번지’ 개관 / 파이낸셜 뉴스, 2010-02-01

Medicine for Melancholy (2008)

Directed and written by Barry Jenkins
Starring Wyatt Cenac(Micah), Tracey Heggins(Jo)


Official Trailer of "Medicine for Melancoli"(2008)

-

Official Site of "Medicine for Melancholy" on Strike Anywhere Films
"Medicine for Melancholy" on MySpace.com
Barry Jenkins on MySpace.com
"Medicine for Melancholy" on IMDb
"Medicine for Melancholy" on video.google


AIR interviews Barry Jenkins, Director of Medicine for Melancholy (which premiered at SXSW 2009).


Long excerpt from "Medicine for Melancholy"

-

"A Short-Term Affair Leads to Big Questions" by A. O. Scott / The New York Times, January 30, 2010
"Q+A: Medicine For Melancholy’s Barry Jenkins" / The Fader, Feb 26, 2009

"Talking About a Revolution (for a Digital Age)" by Manohma Dargis / The New York Times, January 29, 2010
"Don’t Smirk, Sundance’s Roots Do Show" by Manohma Dargis / The New York Times, January 28, 2010
"Putting the Indie Back in Sundance" by Brooks Barnes / The New York Times, January 20, 2010

+

must watch this year.. "Howl" by Rob Epstein & Jeffrey Friedman, "Hesher" by Spencer Susser...so on.