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I like interviews with people who know my work, so that an interesting dialogue can occur. You are one of the most multidisciplinary figures in the art world, being a visual artist, stage director, choreographer and playwright. Do you ever find that confusing in terms of defining yourself as an artist? I choose the appropriate medium for each idea that I have. Do you still have the same urge to put insects or liquids under the microscope?

My work has always been a systematic laboratorial research of things. I make drawings with my own tears, blood and sperm and by doing so I discovered many things concerning the human body, for example the typology of tears. To open new fields of thinking, to get an insight of the body, because the body is a trap, a battlefield or a love installation but it also is a terra incognita. Last year you had a rather original solo exhibition — when the Louvre Museum offered you the space in the Northern School wing and your artwork interacted with those of masters of the past.

Did you feel any fear or hesitation? It took three years of preparation, I visited the spaces many times and we made lots of maquettes but I have to admit that when I finally got to installing my works, I skipped almost thirty of them. On some occasions you have been accused of trying too hard to shock the audience with the use of body liquids, stuffed animals, insects, bones etc.

Do you ever get shocked yourself? Yes, often. I get shocked by the way our society functions, by the news on TV. Working with my company is an ongoing process. The play premiered a couple of months ago in Chile, then moved to New York, Germany, Belgium and the performance. Theater work for me is about constantly evolving, challenging myself and the performers and posing new questions.

Should we expect to see something else during your presence in Athens this summer? How many people comprise your team, including Troubleyn company? Troubleyn Staying Faithful in old Flemish is a laboratory for the body and the voice and also for people who support my theatre work, it has ten permanent people in staff.

There is also Angelos, the office for visual arts where I have my studios, five more people work there. I have only one assistant, because I do a lot of my work on my own. You seem to belong to the category of artists who are enjoying the process of their work instead of suffering.

I am a contemporary mystic; I am a very happy artist, I love the things I do. You know the mystics were people put down by the Catholic Church, due to their joy towards life, in a sense I am one too. I have to make my artwork, my drawings or writings, to direct, I have to keep my mind busy, it is the main source of energy and joy in my life.

You were born in Antwerp and still live and work there. How come you never moved somewhere else? I did, I lived in New York for a year and a half, while teaching in a school of visual arts but I left. I was so tired of New York, it was too empty and fake and it made me look back in my cultural heritage, only to realize how rich it is and to fall in love with it again. Every day! Being an artist is a choice of life, a choice of interrogating and terrorizing your own mind, and I often wonder what it is I have to do in order to stay truthful to my actions and my work.

From time to time I imagine myself at the age of 86, sitting on the grass making single small drawings and writings. From mathematics and archaeology, he found himself writing contemporary art reviews for local Belgian newspapers at the age of Before taking over the museum he worked for Documenta, was a board member of the Soros Foundation and an advisor at the Johannesburg Biennial. This is perfectly reflected in the Muhka collection, going back as far as the mid 60s.

Six years ago the museum joined forces with the Institute of Visual Culture and has since enriched its collection with videos as well as expanding its media programs.

The goal is to help people come to terms with society and help them prepare it for the future. The museum will close its doors in a few weeks time and will remain closed until September to upgrade its infrastructure. Hailing from Germany he found himself in Antwerp and from the world of fashion to fine arts and galleries. His first collection was unveiled in and soon after he landed deals with famous fashion houses and labels.

He quickly realized he had the tendency to express himself through objects, installations and sculptures. The exhibition is made up of photos, objects, collages and a lot of latex and will open at the end of the year in the Fabrieke Foundation in Antwerp; it is also scheduled to show in Envoy Gallery in New York in which the artist recently presented an exhibition with Amanda Lear.

They seem destined to succeed! She was born in Paris and grew up in Stockholm and Alsace. Elise is still uncertain of her future after her graduation; her dream is be part of a group of artists, involved in different projects.

Yu got into fashion after the great reaction he got from a transparent necklace he made. He initially got into design and accessories and soon he left London and St. He wants to set up his own independent label in a few years time and get the chance to pay often visits to Antwerp, which he considers his second home.

Tim Van Laere set up his gallery 12 years ago, in an attempt to promote the work of up and coming artists not only from the Flemish region but from around the world. He then adds that there are many Belgian collectors who support art.

The gallery is currently hosting a solo exhibition by American photographer Ed Templeton. He views Antwerp as a cosmopolitan village; everything is really close by and accessible. What can beat that? The reason he decided to do so is due to the playfulness and creativity that go hand in hand in this field.

Hu graduated last year and is still looking for a job; he puts that down to the current financial crisis. He will soon be taking part in a graduate competition which he hopes will give him the exposure he needs; he positions his work somewhere in between street wear and high end fashion.

When he was 16 and a model at the time, he met Walter Van Beirendonck; he was the one to introduce him to the Antwerp fashion school, where he went on to study. It is a very fun topic with a very thorough and diverse research. When I saw the exhibition in Athens I was very much attracted by the diversity of the selection and the way different objects from the past and the present were combined.

It is almost the same way we have been working in the museum the last seven years. Why are historic elements important to a contemporary fashion exhibition? Fashion does not work in a linear way, it is a cycle.

Fashion design always recuperates from previous eras. Why not surprise our visitors with poor paper garments from Japan that there were used decades ago and compare them with a Margiela dress?

How did you get to become director of the museum? I studied literature in Antwerp and Berlin, and I did some research in the theater studies department. A few years ago I simply applied for a job as a curator of the museum.

I worked for five years next to the former director of MoMu, Linda Loppa, and I certainly have learned lot from her. Sometimes I feel that it is almost a privilege. The challenge is to find interesting and dynamic ways to present fashion throughout our exhibitions. How many people work for the museum? Twenty five people. However, three of them only devote themselves to exhibitions and three more to our library.

We are mainly funded by the Province of Antwerp and from the Flemish Government. Is there a targeted group for the museum? We address to everyone.

I get angry when they consider the museum as something very elitist. All people can recognize the creative, the idea and the concept behind the exhibitions. One good example is the Bernhard Willhelm exhibition which we thought it would be provocative but after all everybody found it inspiring, even older people. You are mainly concerned with conceptual fashion.

Do you ever feel the need to focus for a period in street fashion? Of course, I do. But it is very difficult. We need a bigger team and a bigger budget for that. For example Margiela had a vast influence on street fashion but it is extremely difficult to document that. For the time being we prefer buying and collecting some of the clothes from our current local fashion designers, from each collection. Things you see in the street are really hard to collect.

Why do you think Antwerp developed such an important fashion scene? There is a mix of reasons. It is a history starting from the seventies, when Antwerp was a vibrant city with an enthusiast arts and music scene.

A team of inspired teachers happened to be in the school of fine arts and in its fashion department, and then students gained from this. In the beginning of the eighties we had a financial support plan from the government towards the textiles manufacturers and later on to young talents of fashion designers. Then, the Antwerp Six collective made a real change in the international fashion scene. Why would you recommend Antwerp as a city to live and work?

Antwerp today is an ideal place for younger people to stand out. It is well connected with the big European capital cities of fashion and the quality of life is great. Do you have a strong childhood memory that has to do with fashion?

I remember strongly that I was fascinated by clothes and looks, by David Bowie and Alice Cooper and how they looked. At that time it was difficult to make a choice towards fashion. That was at the beginning of the seventies. You are an internationally acclaimed fashion designer who is currently keen on presenting artworks and presents himself also as an artist.

Do you consider fashion as a form of contemporary art? There is a clear division between the two. I never thought that my collections as a fashion designer had something to do with art. On the other hand the way they were shown flirted with the idea of a performance, which is clearly a medium of art.

You are now the head of the fashion department of the Royal Academy of Fine Arts of Antwerp, the same school where you used to be a student a couple of decades ago. Do you see any differences between the two generations? Fashion changed and the world changed. The school is different and the students are different. We were more innocent and naive. It is easier to get attention today, back then we had to try harder, we knew less.

Then it was more spontaneous, now it is more mature and reality linked. You were part of Antwerp Six. Do you think there is going to be a new edi-. We were good friends at school and stayed like that for 10 years.

We were called the Antwerp Six because no one in London could pronounce our names. Why is the city of Antwerp so important in producing so much talent in fashion? It is a very good location, close to London and Paris and moreover it is cheap to live here. And then, there is the school of course. The Royal Academy provides good education; the teachers work a lot with their students. In Saint Martins for example students hardly see their teachers.

What do you believe is the most important moment of your career so far? I always say my last collection. But my career has always been like a roller coaster, with all ups and downs.

The good thing is that I always did what I wanted to do and I never sold my soul to anyone or anything. Fashion is going now through an almost scary phase. It is an interesting turning point, everything will soon change.

It has almost been the same system and way of making fashion for the last hundred years. The only thing that has really changed is that the main fashion production is done in Asia. What have you seen lately that has been an inspiration to you? Ethnic tribal marionettes from Mali. I have a big collection. Is this the reason you use so many vibrant colors in your collections? I could not live without colors. The top level features the most important street wear brands, with DJs and loud music at weekends.

The ground floor is reminiscent of a carpet store and features sneakers. The store is also open on Sundays. Spreading across square meters, it caters primarily for high end fashion buyers.

In a few weeks time it will also have its own bar restaurant. They are the home side and by far the favorites to earn the three points.

G-Star dominate the whole region of Benelux in the field of denim, therefore a visit to their main store in Antwerp is a must. Enter in a silky, watercolor scene somewhere in downtown Kyoto, where cherry blossoms bloom, birds fly in a batik sky and geisha girls are seductively sweet.

Fabrics feel like paper and origami elegantly unfolds. Ladies, this is a new dreamy world from Designers Remix Collection by Charlotte Eskildsen, straight from Sweden's best fashion scene. Bright, imaginative colors and an explosion of prints, all inspired by far-away cultures, are the main characteristics of Collage Social SpringSummer 09 collection, signed by the distinguished designer Yiorgos Eleftheriades. Relaxed and polymorphic forms — with different cuts and bends - or smart, tight tailored pieces, leggings and pipe lived dresses.

Recorded October 28, Balanca Nao Pode Parar! Samba da Minha Terra. Garota de Ipanema. Deixa Pra La. Mas Que Nada. A Minha Menina.

Shostakovich Symphony No. KBS Symphony Orchestra. Lisa Jacobs [violin]. The String Soloists. Sokratis Sinopoulos, lyra. Yann Keerim, piano. Dimitris Tsekouras, bass. Dimitris Emmanouil, drums. Yannis Skandamis, sound engineer. Satie was a colourful figure in the early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, and the Theatre of the Absurd.

The melodies of the pieces use deliberate, but mild, dissonances against the harmony, producing a piquant, melancholy effect that matches the performance instructions, which are to play each piece "painfully" douloureux , "sadly" triste , or "gravely" grave. Like them, the Gnossiennes are often considered dances. Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Raindrops footage by Beachfront B-Roll beachfrontbroll.

We put on more than 50 shows every month in New York. Find us on Facebook and Twitter for more information. For a new gig every day, along with playlists, features and more,. Artist: Stephanie McKay. Filmed by: Chase Crandell, Maira Nolasco.

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8 thoughts on “Ακόμα Ένα Καλοκαίρι - Various - Τα Καλοκαιρινά (Vinyl, LP)

  1. Ζαχά Νινή, Ζαχά Νινή, Αγαπημένε μου, κι αυτό το καλοκαίρι, θα 'ναι αβάσταχτο, οι μέρες περνούν αργά, πολύ αργά, κοιτάζω μια τον ουρανό, μια τη θάλασσα, και περιμένω να φανείς.
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  3. Για ένα αξέχαστο καλοκαίρι! για να γνωρίσετε με ποιους τρόπους θα μπορούσατε να φέρετε τα παιδιά σας ακόμα και εντελώς δωρεάν. terbelacherentho.blogutcenfenomsirubnogacosdioma.infoinfo Facebook: kinderlandcampkalamos.
  4. Πώς θα ταξιδέψουμε φέτος το καλοκαίρι – Οι αλλαγές στα πλοία και τα μέτρα Πρόβλεψη για το πιο θερμό καλοκαίρι των τελευταίων χρόνων! Κορωνοϊός-Τσιόδρας: 10 νέα κρούσματα και ένας ακόμα θάνατος (βίντεο) Ολυμπιακοί.
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