DAUPHINES OF NEW YORK & SORA MAGAZINE

 

 

 

 

 

 

RITA & THE DREAM OF HORSES

Judy was a teenage rebel
She did it with a boy when she was young
She gave herself to books and learning
She gave herself to being number one
Judy got a book at school
She went under the covers with her torch
She fell asleep till it was morning
She dreamt about the girl who stole a horse
Judy, let’s go for a walk
We can kiss and do whatever you want
But you will be disappointed
You will fall asleep with ants in your pants
And the song she wrote was Judy and the Dream of Horses
Dream of Horses, Dream of Horses
You dream of horses

NOSTALGIA

 

Un juego virtual que te invita a conectarte con vos mismos, con los otros, y con los secretos y fantasías.

 

The idea was to gather teenagers through a virtual game where they could meet their fears, their fantasies, and share them with people who were in the same tune, so they could feel accompanied.

 

 

 

TTRRAACCAA

BAILANDO, BAILANDO

AMIGOS, ADIÓS

ADIÓS

EL SILENCIO LOCO

PARADISO

 

Cada vez que esta sonaba en alguna fiesta, nos preguntábamos a qué referirían con eso del “silencio loco”. Hicimos nuestras propias interpretaciones y estas acabaron tomando la forma de una nueva canción.  

 

 

Teniendo un estribillo de Eurodance, con una base que hace guiños tanto al Breakbeat de The Prodigy (la vibe de Smack my bitch up) como a la música Mákina de Chasis (la melodía de Atlantis que aparece en un par de ocasiones) podríamos decir que es una oda a la música de baile de finales de los 90. No obstante, al llegar al estribillo, aparece un ritmo de Baile funk brasileiro que rompe con la idea de revival nostálgico y consigue que el tema suene a fresco y actual

 

 

 

TTRRAACCAA aparece en la vida de Alberto mientras este trabajaba de forma precaria en un call center igual que Tyler Durden en la del protagonista de “Fight Club” con el fin de ponerla patas arriba. No obstante, la diferencia está en que, en lugar de crear un espacio para que un grupo de hombres cishetero se den de hostias, lo hace convirtiéndose en una estrella del pop (entendiendo esto como una falacia debido a la naturaleza underground e independiente del proyecto).

 

Estéticamente utiliza mismos recursos y mismas técnicas que la música urbana actual (música electrónica producida sin instrumentos analógicos, autotune para corregir la voz, acordes sencillos y ritmos repetitivos…) pero intenta ir un poco más allá, jugando con las mismas reglas pero con distintos resultados. Busca lo placentero y lo hedonista de las melodías alegres, los ritmos bailables y la palabrería fácil, pero tratando de exponer problemáticas reales de una generación perdida: existencialismo, depresión, adicción a la tecnología y a las redes sociales, la falsa promesa de futuro, la alienación, la explotación y precariedad laboral, la soledad o la necesidad de cambio son temas recurrentes que salen a florecer cuando se presta atención a lo que está sonando. 

 

FAUSSE NOUVELLE

DAISY MORTEM are UFO’s from the French
countryside.

After accompanying IC3PEAK and GFOTY on their entire respective
tours, Daisy Mortem was noticed by CATNAPP, who then released their first
album “Faits Divers”, on her label NAPP RECORDS in 2020.

 

Last year, French avant-garde club producers were inspired by the pandemic
eclipse to create a new interpretation of their album Faits Divers, with
some incredible collaborators. On May 31st the new label DAAGANDA RECORDS
will release Fausse Nouvelle.

 

 

 

 

 

Tracklist
1_ Gamelle feat Cyberkills – A seductive side to this tale of canine vorarephilia
2_ L’empoisonneur de chats feat Pakun Jaran – Dark reggaeton ambiance & dancehall funeral march
3_ Fausse nouvelle: A dizzying and thrilling blend of metaphysical and medieval
references

4_ Étoiles feat Metaroom – The desperation and boredom of French countryside life
5_ SPAM (Waifu Version) – Nightcore kawaii club banger
6_ Prohibition 2050 (Brigitte Fontaine cover) – A stylized animation of a post-apocalyptic Paris
7_ Manges tes morts (Maay remix) – Vampire gabber flavor
8_ La nuit sexuelle (Mr.Kitty remix) – Frankenstein post-punk dance version that belongs in a humid 80’s basement goth club
9_ Faits divers (s1m0nc3ll0 remix) – There is literally no way to describe this

 

 

 

 

 

SOMETHING FROM THE ISLAND

 

yago cobas something from the island

Top: Zara – Trousers: Melián – Shoes: Birkenstock – Belt: Isabel Marant

 

yago cobas something from the island

Top: Melián – Pants: Adolfo Domínguez – Necklace: Lassopita

 

yago cobas something from the island

Top: Melián

 

yago cobas something from the island

Black shirt: Vintage – Shorts: Oysho-  Shoes: Zara – Cap: Nike – Necklace: Lassopita

 

yago cobas something from the island

Black shirt: Vintage – Shorts: Oysho – Cap: Nike – Necklace: Lassopita

 

yago cobas something from the island

Shirt: Vintage – Bikini briefs: Zara – Scarf: Vintage

 

yago cobas something from the island

Top: Melián – Pants: Vintage – Belt: Uterqüe

 

yago cobas something from the island

Top: Zara – Hat: Jaxon & James

 

yago cobas something from the island

Top and skirt: Zara – Necklace: Lassopita

 

yago cobas something from the island

Blazer: Adolfo Domínguez – Top: Meilán – Pants: Vintage – Shoes: Carmen Poveda – Belt: Uterqüe

 

yago cobas something from the island

 

 

yago cobas something from the island

Cardigan: Theory – Bikini: Jekai – Shoes: Birkenstock – Necklace: Lassopita

 

yago cobas something from the island

Dress: Vintage – Scarf: Vintage

 

yago cobas something from the island

Cardigan: Theory – Bikini: Jekai – Necklace: Lassopita

 

yago cobas something from the island

Top: Zara – Trousers: Melián –  Belt: Isabel Marant

 

yago cobas something from the island

Top: Vince – Short: Abanderado

DARKY PERREO

 

DARKY PERREO es la evolución del Perreo como lo conocemos, es la última Mixtape de Martín Tremoulet aka El Tremu o Sicario777.

Dura 44:44 Minutos y fue grabado live y sin cortes durante una noche del 2020. DARKY PERREO es parte de las nuevas mezclas de la música del futuro, de lo Dark Experimental más actual, hasta el Perreo Latino Emergente y el Trap Español más extremo.

 

~ TRACKLIST ~

  1. GALACTICO – PABLO CHILL-E
  2. HO$H HO$H HO$H – DIE ANTWOORD FT BOBAJAN, SKELM
  3. CRIMINAL – NEO PISTEA
  4. TRRST – IC3PEAK
  5. YUNG BEEF –  SU CURA
  6. DRUG DEALER – LA ZOWI
  7. IALAH – SOTO ASA
  8. SASSYGGIRL – BABY ROMANTI-K X EL PLVYBXY
  9. FLYTE – PABLO CHILL-E X EL FUTURO FUERA DE ORBITA
  10. TATE – SOTO ASA
  11. BICHIYAL – BAD BUNNY X YAVIAH
  12. DILE – YUNG BEEF & CECILIO G
  13. BAITA JOU SABELA – DIE ANTWOORD FT SLAGYSTA
  14. OSCURO – LA ZOWI – MARK LUVA – SICARIO777 LIVE
  15. TU PUTA ESTA LOCA – SASSYGGIRL & DJ SUSTANCIA FT RATTLESNAKKE X PLVYBXY
  16. LUNA MUERTA – IC3PEAK
  17. BAD GUY – BILLIE EILISH – REXA CORPSE RE WORK

 

Is This Darkness In You Too?

“There was so much I ought to have recorded,

So many lives that have vanished –

Families, neighbours; people whose pockets

Were worn thin by hope. They were

The loose change history spent without caring.

Now they have become the air I breathe,

Not to have marked their passing seems such a betrayal.” – Brian Patten – “The Betrayal”

I’m drawn to the edges of things, people and places that might commonly be overlooked. This has a lot to do with who I am, my own experience and background and my desire to photograph people from a similar background and experience and to represent that in a complicated and dark but also a tender way. I want to treat the suburbs around me as something compelling and rich.

“The sun shone, having no alternative, on nothing new.” – Samuel Beckett

The alleys and backways of neglected suburbs, become the site of an “exiled” range of characters, seemingly adrift as their “loss of innocence” becomes visceral in an interior struggle between instinct and reason.

The final lines of the poem “Afternoons”, “Something is pushing them/To the side of their own lives.” –  by Philip Larkin – is a central tenet and provides a starting point to introduce themes of time, memory and loss. It’s that feeling that you are only going to relive in echo.

The work that I have made over the past years relies on people and places that exist in the world, which are then transformed by my imaginative vision of them. This style of documentary photography acknowledges the fragmentary complexities of life, allowing ambiguity and contradiction to open up the work, like so many departures, journeys and roads that go on forever.

 

Adrian Saker was born in Marston Green, a suburb of Birmingham (next to the airport). He was raised by his Mom, of whom he says, “did an incredible job under difficult circumstances.” At university he studied Art History and Philosophy. Following this, the next ten years were spent “doing stupid shit”, of which he says, ” there are no excuses or justifications, quite simply I should have known better!”

It was meeting his partner Viv, a musician, that inspired and helped him change his direction and with her encouragement, after she’d seen “a dusty old portfolio from college days”, he began making photographic work again.

He is interested in long-form documentary projects that often take years to complete. His practice, he describes as “letting the ideas and themes emerge from the work itself.”

Other notable interests that occupy him include, cats, The Clash and Christmas.

 

 

SEFARERS

 

Born in Hamburg, Germany in 1995, young artist Leon Billerbeck first discovered photography as an artistic medium in 2015, while studying Media Arts at the Bauhaus- University in Weimar. Since then, he is ambitiously developing his art and himself, traveling around the world, photographing, filming, writing and making music.

He  participated in the Artist Residency of Antoine D‘Agata in Arles in 2017 and  was later that year, one of 4 elected students of the „Carte Blanche Étudiants Award“ by Paris Photo and Picto. The following year, he was studying in Porto, Portugal, where worked on his first sound- installation “DROWN” ,  which was later exhibited at the renowned media-art festival „Semibreve“ in Braga, Portugal. Since September 2018 he studied in the class of Prof. Björn Dahlem at the Bauhaus-University, where he intensified his work on mixed-media art and installation-art, expanding his often lens-based gestures to diverse audio-visual, sometimes even sculptural expression. In October 2019, he finished his BFA in Media Arts at the Bauhaus-University in Weimar, Germany, under supervision of Prof. Ursula Damm and Prof. Björn Dahlem. Billerbeck is currently working on his personal artistic projects, ranging from experimental sound art collaborations and photography magazines to poetry and video work.

STUDIES FOR THE FEMALE BODY

Vertigini

Migliaia di notti

Ascoltando la voce delle piramidi

LUCA BAIONI STUDIES FOR THE FEMALE BODY

La stessa figura nera che ha l’odore della merda

Sale le scale e si deposita

Sulla schiena, roteando

Porta nastri e mi cancello

Migliaia di notti

Ascoltando la voce del vuoto delle piramidi

Vedo i corpi pieni di assenza

Di strumenti che non tocco, portami dentro

Sulla schiena non c’è posto

Per poter dormire al limite della piega

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Ascolto ancora il vuoto, ora è verde

Prima di divenire giallo come il sudore della morte

Che scende dal cervello come se piangesse

Sudo di nuovo

Voglio parlare a questi corpi

Figli dell’assenza di necessità

Bruciati dall’esplosione della creazione

Migliaia di notti ho aspettato

Il ritorno del buio blu

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Si aprono le scatole

E si chiudono le bocche

Tutto nero

Tutto si allunga

E le mie mani tirano i pezzi

Che di pianeti portano le onde

Ora nel cervello

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Vi guardo, corpi

Sono lì con voi

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Vertigos.

Thousands of nights of woes

Listening to the pyramids voices.

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Always the same figure

Smelling like shit and black,

Climbs up the stairs

And rests on my back,

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Twisting and swirling

He brings me tapes

And I disappear in them.

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Thousands of night again

Listening to the void talk

Of pyramids,

I see bodies

Full of absences,

Of tools I won’t touch,

Take me inside you,

On your back

There’s no room left

To sleep back

On the hem of the sleeve.

Again and again I listen

To the void, now it’s green,

Before it turns yellow

Like sweat and death’s marrow

Which pours from the brain

As if it was weeping

And I sweat, I rain,

Again and again and again.

LUCA BAIONI STUDIES FOR THE FEMALE BODY

I want to talk to them,

To these bones and corpses

Children of necessity and absence,

Burnt by the burst of nativity.

LUCA BAIONI STUDIES FOR THE FEMALE BODY

Thousands of nights I’ve waited

The return of that blue obscurity,

Boxes open up

And mouth closes,

All is dark,

All is prolonging,

LUCA BAIONI STUDIES FOR THE FEMALE BODY

And my hands

Throw the pieces

That allows the waves

Of planets to enter like veins,

Now, in my own brain.

LUCA BAIONI STUDIES FOR THE FEMALE BODY

I see you all,

Bodies and corpses,

I see you

And I’m there with you.

PYSANKY

Pysanky are Ukrainian Easter eggs, decorated with traditional Ukrainian folk designs using a waxresist
method known as the Batik Method. This method dates back to the pre-Christian era.
Ancient Ukrainians worshipped a sun god, Dazhboh. Eggs decorated with nature symbols became
an integral part of spring rituals, serving as benevolent talismans.

They decorated eggs, because they came from the birds. It was believed that the birds were the
Sun’s favourite creation, because they could get closest to it, and because humans couldn’t catch
them. They could, however catch the eggs. Therefore believing they are sacred and hold special powers.

With the advent of Christianity, the symbolism of the egg was changed to represent, not nature’s rebirth, but the rebirth of man. When the USSR took hold of Ukraine, pysanky was banished. It was only through Ukrainian
Immigrants to North and South American that this tradition continued. Not until 1991, when Ukraine
gained independence, did the tradition re-establish itself in it’s homeland.

 

The Hutsuls – Ukrainians from the Carpathian Mountains – believe that the fate of the world depends
upon pysanky. As long as pysanky is made, the world will exist. If abandoned, a horrible serpent, who
is chained to a cliff, will overrun the world. Each year the serpent sends out his minions to see how
many pysanky have been written. If the number is low the serpent’s chains are loosened, and he is
free to wander the earth causing havoc and destruction. If pysanky has increased, the chains are
tightened and humanity is safe another year.

Many superstitions were attached to pysanky. It is believed to protect households from evil spirits,
catastrophe, lightning and fires. Pysanky with spiral motifs were the most powerful, as the demons would be trapped within the spirals forever. A blessed pysanka could be used to find demons hidden in the dark corners of your house.

If a pysanka is broken it must be disposed of properly. The eggshell has to be ground up very finely
(and fed to chickens to make them good egg layers) or broken into pieces and tossed into a
running stream. They hold powerful magic, and if a witch finds one she can use the shell to gather
dew, and use the dew to dry up a cow’s milk. The witch can also use bits of the eggshell to poke people and sicken them.

There are superstitions regarding the colours and designs on the pysanky. One myth centered on the wisdom of giving older people gifts of pysanky with darker colors, for their life has already been filled. Similarly, it is appropriate to give young people pysanky with white as the predominant colour because their life is still a blank page.

Girls would often give pysanky to young men they fancied, and include heart motifs. However, a girl should never give her boyfriend a pysanky that has no design on the top and bottom of the egg, as this might signify that the boyfriend would soon lose his hair.

 

Colour Symbolism

Red represents blood, love and joy, and the hope of marriage. It is also associated with the sun.
Black is a particularly sacred color, and is most commonly associated with the “other world,” but not in a negative way.
Yellow symbolizes the moon and stars and also, agriculturally, the harvest.
Blue representes blue skies, the air, and good health. White is for purity, birth, light, rejoicing, virginity.
Green is the color of new life in the spring. Green represents the resurrection of nature, and the riches of vegetation. Brown represents the earth.

Symbolism in Colour Combinations

Black and white – mourning, respect for the souls of the dead.

Black and red – this combination was perceived as “harsh and frightful,” and very disturbing. It is common in Podillya, where both serpent motifs and goddess motifs were written with this combination.

Four or more colours – the family’s happiness, prosperity, love, health and achievements.

SOMETHING ABOUT FRAGILE PURITY

The performative intimacy and immediacy of videographing and photographing any kind of actions

has always fascinated me. The recorded video forms a visual improvisation of movement and interaction,

a spontaneous poem, a fragment without clear narrative. Therefore, the video stills become a sort of analysis

of the potential that lays within the betweeness of things, grasping for the ungraspable, exploring the beauty of

the fragile fluidity we experience in life.

Distance is the patience we‘ve lost. Contemporary society. Limitlessly intertwined.

Constantly inter-connected. Flexibly moving, passing quickly through the globe.

No time is wasted. No distance tasted. A moment ago. Where is our patience?

 

 

Fantasya Conejitom

Estas fotos son parte del proyecto Amante, en él voy cartografíando a través de retratos un modo vincular no normativo que en la contemporaneidad aflora visible como naturaleza que crece a los lados de la ruta del capitalismo.

Si la fotografía es seleccionar un recorte, alumbrar un punto, propongo enaltecer un proceso social que entiendo merece ser recordado. Valorarlo como un aspecto de liberación y modo posible para la creación (o el habitar) de realidades alternativas potenciales.

Desde un discurso de sensualidad y sutileza busco propiciar un cómo celebratorio para la polisemia amatoria con el anhelo íntimo de alterar sensiblemente el mundo material mediante un imaginario enriquecido.

En esta edición comparto el dormitorio de Fantasy, un ambiente de ternura peluchito en donde dos jovencites de la casi adolescencia temprana juventud se abren al dulce juego de la experimentación de enlaces, desde un inicio que se desdobla del ideario romance del primer amor, para partir disponibles a la experiencia y el ensayo. Donde no hay lugar para nociones de la propiedad privada y hay  mood 4 love.

Me llamo Desireé De Stefano, me ocupan las problemáticas actuales vinculadas a políticas de
género, territorio, soberanía, biodiversidad y consciencia. Me coloco disponible a mi entorno, desde las sensibilidades que me convocan en lo personal y me interpelan en nuestro contexto latinoamericano, queer, disidente y artístico.

Me aboco a las prácticas de las artes visuales e investigación, curo en Galería Deseo, soy 1/4 de Asolar.

MICROCOSM/MACROCOSM

“The morphological knowledge of the human body encourages meditation about the universal principles of life and reflections of some higher meaning and order to which all living things are subject to. The principles of creation are the same: man as a part of nature, the universe – the universe and nature in man. Microcosm in the macrocosm, the universe of stars, and the universe of cells.”

 

“We are used to perceiving nature as a surface: the landscape, the trees, the human body. Few realize that we see a small part of it, that the true miracle of life is beneath the surface. It is there where the life-giving power of organisms pulsates in the branches and roots, blood vessels, and nerves.”

 

“A look into the microscope reveals unexpected connections. Leonardo da Vinci already knew that shapes, basic compositional elements, are repeated in nature. Our body, all the nature around us, arise according to the same principle and are subject to the same laws of growth and extinction. Hope of life: a seed germinating in the soil, an embryo hidden in the mother’s womb. The limitation of the individual and infinity of universal being…

 

Prof. MUDr. Josef Špaček, DrSc. in the monograph about Josef Bavor:

Josef Bavor’s painting adorns the wall of my room and is called “Nest”. I find everything in it. The whole universe, living as part of the inanimate, everything from the genes in the nucleus of the cell, through the germ of life, the nest of home and the struggle for survival to the depths of distant spaces. In this image I find myself and my place in the cosmos.”

 

Josef Bavor (born 1944) is an artist and educator. He worked as an anatomical painter at the Medical Faculty of Charles University in Hradec Králové. He illustrated more than a hundred professional publications and textbooks (“Propaedeutics of Internal Medicine”, “Aesthetic Surgery”, series “Head Surgery”). He worked externally as a teacher at the Faculty of Education, University of Hradec Králové. He graduated from the V. Hollar Secondary Vocational School of Art in Prague, and the Faculty of Arts, Charles University in Prague in the field of art education. He lives with his family in Hradec Králové.

Source: Czech Center New York & Josef Bavor

S.T.U.U.T.F. SORA Magazine DROP

 

Enguany caminó desde Tarragona hasta el Coagularium, en el centro de la ciudad condal. Un viaje iniciático de cuatro días donde trabó amistad con gatos y alimañas, que suelen indicar el camino mejor que los animales de dos patas. Desde su taller arde el amoranarquía y el crujir de las ramas secas es el mejor de los paisajes sonoros posibles. Fuerza a través de la unidad, unidad a través de la fe, reza el nombre de su sello de ropa.

S.T.U.U.T.F. recoge aceite de motor, pintura y el viento de la tramuntana que, según cuentan los ancianos, puede volverte loco.  A Enguany le gustaría que  llevaras su ropa hasta que desapareciera del uso y es por eso que sus prendas parecen estar justo en la intersección entre un lienzo pintado y la ropa técnica. Como un tren que atraviesa la ciudad cubierto de graffiti.

 

BOYS SHOULD CRY

 

Almost all of us heard the words “stop crying” as a child, and surely every boy has heard “guys don’t cry” hundreds of times.

William Pollock’s book “Real Boys: Rescuing Our Sons From the Myths of Boyhood” proves that boys in their infancy are usually more emotional than girls – they cry and scream more often.

In contrast, four-five-year-old boys are less likely to show emotion and this is not caused by anybiological differences between men and women.

 

 

 

The problem lies in the culture.

Throughout their childhood, boys hear how real men behave, and in adulthood they are still expected to be stereotypical masculinity, disregarding their sensitivity and showing their feelings.

Hiding emotions can be clearly seen in pop culture, and above all in cinematography, where film characters become role models for most men.

 

 

Hiding “unmasculine” emotions can lead to increased aggression and frustration or depression among men.

While working on the project, I analyzed the filmography of a thousand of the most popular actors according to the IMDB portal. I found less than thirty scenes in which the face of a crying actor is fully visible.

Why do men behave more aggressively than women when it is not biological? Why are they afraid of being compromised and why do they have to be tough? Why do they wear a macho mask? Why is anger the only emotion they can freely show, so the only emotion, turns out to be anger?

 

 

Horbów (born 1995) visual artist and performer from the Polish-Ukrainian border. Graduate of the Academy of Fine Arts in Warsaw. His artistic practice works on principles of creating a collage of social phenomena, borrowings, and principles on which people act.

Founder of Self-House-Residency – residential project in response to the current COVID-19 situation which promote the self-isolation movement in their own houses where artists can still create freely. Each resident has Self-House’s instagram for
three days.

More: https://www.instagram.com/self_house_residency/

UNBOUNDED UNLEASHED UNFORGIVING_

 

It is a confrontation and at the same time a process of constant transformation. Technological development and general digitalization lead us to a continuous abstraction of our world where virtuality is a dimension of identity and not a distinct identity that coexists with other identities, overcoming space-time barriers and configuring an environment in which the information and communication are shown to us affordable from previously unknown perspectives, at least in terms of volume and possibilities.

Could it be that our virtue is this virtuality?

The definition of virtual refers to efficiency to produce a result, although it reproduces it in opposition to reality, it meets the characteristics and has an apparent, simulated existence; The virtual environments lead us to new creative spaces, hitherto not experienced, expanding the communicative potential.

Etymologically this word comes from the adjective “virtual” and the abstract suffix “ity” that indicates quality. Its reference corresponds to the Latin “virtus” and on it a root is distiguished in “vir” associated with the bravery of the warrior, in this exclusive framework of the masculine gender: value, virtue, quality of the man. But in this case we enhance the feminine quality of emotions, abstract and incorporeal, at the same time extremely connected with the biological cycles that govern us, facilitate the connection and the essential actions to achieve sustainable collaboration and evolution.

(Source: Haimney Gallery)

 

Es una confrontación y a la vez un proceso de transformación constante. El desarrollo tecnológico y la digitalización general nos llevan a una abstracción continua de nuestro mundo donde la virtualidad es una dimensión de la identidad y no una identidad distinta que conviva con otras identidades, superando las barreras espacio-temporales y configurando un entorno en el que la información y la comunicación se nos muestran asequibles desde perspectivas hasta ahora desconocidas, al menos en cuanto a su volumen y posibilidades.
¿Será que nuestra virtud es esta virtualidad?
La definición de virtual hace alusión a la eficiencia para producir un resultado, aunque lo reproduce en oposición a la realidad, reúne las características y tiene existencia aparente, simulada; los entornos virtuales nos conducen a nuevos espacios creativos, hasta ahora no experimentados, ampliando el potencial comunicativo.
Etimológicamente esta palabra proviene del adjetivo “virtual” y del sufijo abstracto «idad» que indica cualidad. Su referencia corresponde al latín “virtus” y sobre éste se distingue una raíz en “vir” asociada a la valentía del guerrero, en este marco exclusivo del género masculino: valor, virtud, cualidad del varón.
Pero en este caso potenciamos la cualidad femenina de las emociones, abstractas e incorpóreas, a la vez sumamente conectadas con los ciclos biológicos que nos rigen, nos facilitan la conexión y las acciones indispensables para lograr la colaboración y la evolución sustentables.
Guerreras de la deconstrucción, de la representación real de la esencia virtual.
El virus del nuevo desorden mundial: rompe lo simbólico desde dentro y recrea el proceso de materializar lo abstracto y hacer físico lo intangible, la vida.
(Fuente: Haimney Gallery)

PURPLE HAZE by BBMotion

 

PURPLE HAZE VISION Capsule Collection

AVAILABLE SOON at SORA Magazine Shop (Barcelona)

 

NEONYT SUSTAINABILITY INNOVATION

Sustainable fashion – neo-new and highly innovative.

 

 

 

 

 

 

 

CIRCULATION(S) 2020

CIRCULATION(S) is the festival dedicated to emerging photography in Europe. Each year, at  the CENTQUATRE-PARIS and satellite sites in France and abroad, it reveals the vitality of young creation and speaks for the diversity of photographic expressions through unique exhibitions and events. A stepping stone for artists, a prospective and innovative laboratory of contemporary creativity, CIRCULATION(S) has become, over the past 10 years, a must-attend photography event and a trend revelator.

ANITA SCIÀNO

 

AQUELLOS QUE ESPERAN

 

ARNOLD VEBER

 

BÉRANGÈRE FROMONT

 

BILLIE THOMASSIN

 

CAMILLE LEVEQUE

 

CAMILLE SONALLY

 

CHARLOTTE MANO

 

CHRISTIANE SEIFERT

 

CLÉMENT CHAPILLON

 

CLÉMENT HUYLENBROECK

 

DELPHINE SCHACHER

 

Audrey Hoareau is the Art Director of the CIRCULATION(S) festival and an independent curator. Since working in the collections department of the Musée Nicéphore Niépce in Chalon-sur-Saône from 2003 to 2016, she has been producing and organising photography exhibition projects. In 2017, she contributed to the launch of the Lianzhou Museum of Photography, the first public photography museum in China, and took part in the design of its international programme for two seasons. Audrey Hoareau manages the Peter Knapp archives and has been appointed Curator for Photo Basel 2020, a satellite event of Art Basel and a unique fair dedicated to photography in Switzerland.

 

DOUGLAS MANDRI

 

ELODIE LEDURE

 

EMILIA MOISIO

 

EMMA GROSBOIS

 

 

EPECTASE

 

EUGENIA MAXIMOVA

 

GABRIEL ORLOWSKI

 

GEENE & DE NOOY

 

GEIR MOSEID

 

HENRIKE STAHL

 

ISA MARCELLI

 

JAN MCCULLOUGH

 

JAN ROSSEEL

 

JOHANNA BENAÏNOUS & ELSA PARRA

JULIE FISCHER

 

 

KARIN CRONA

 

KAROLIN KLÜPPEL

 

 

CIRCULATION(S) was built on education and transmission as its core values. This year, (…), to go further into this necessary fight against ignorance, to counter the failure of a system. The festival, spurred by its unifying spirit, has no other ambition but to support contemporary creation and to contribute to the public’s discoveries and learning. This is a promise for this edition and for those to come.

 

KATERINA SNIZHKO

 

KATINKA GOLDBERG

 

 

KOURTNEY ROY

 

KURT TONG

 

LARA GASPAROTTO

LAURENT KRONENTAL

 

LIBOSKA & SOLARSKI

 

LIU SUSIRAJA

 

LOANNIS STEFANIDIS

 

LUDOVICA BASTIANINI

 

LUKASZ WIERZBOWSKI

 

MARGARET MITCHELL

 

MAKSIM FINOGEEV

 

MARIE HUDELOT

 

MARILISA COSELLO

 

MASSIMILIANO GATTI

 

MAXENCE DEDRY

 

MÉLISSA BOUCHER & MARINE DE LA LOGE

 

MIGUEL HAHN & JAN-CHRISTOPH HARTUNG

 

 

NANDA GONZAGUE

 

NINA VATANEN

 

 

OLA LANKO

 

 

OLENA SUBACH

 

OLGA VOROBYOVA

 

OLMO GONZÁLEZ

 

PAUL HEINTZ

 

PAVEL GRABCHIKOV

 

PIPPA HEALY

 

PRUNE PHI

 

RACHAEL WOODSON

 

REBECCA TOPAKIAN

 

RITA PUIG-SERRA COSTA

 

SAMUEL LUGASSY

 

SANDRA CALLIGARO

 

SANDY VOLZ

 

SASHA MASLOV

 

SCHORE MEHRDJU

 

 

SERGEY KAMENNOY

 

 

STEFANIE SOFIA SCHULZ

 

TAMARA ECKHARDT

 

THE COOL COUPLE

 

THOMAS VANDEN DRIESSCHE

 

TORSTEN SCHUMANN

 

ULLA DEVENTER

 

 

Since its inception in 2011, the festival has exhibited over 400 artists and attracted over 300,000 visitors with an ever growing aspiration to be an approachable event of high standards. The tenth anniversary edition will take place from 14 March to 10 May 2020. This year, Audrey Hoareau, an independent curator, has been appointed as the art director to work in close collaboration with the CIRCULATION(S) art committee.
This special edition will present: 300 artworks, 45 artists, 39 projects, 16 nationalities, performances, events and surprises over 2,000 m2 of exhibition space.

 

ULRIKE SCHMITZ

 

VALENTINE VERMEIL

 

VIACHESLAV POLIAKOV

 

VINCENT GOURIOU

 

VINCENT LEVRAT

 

VIRGINIE REBETEZ

 

WERONIKA PERŁOWSKA

 

WIKTORIA WOJCIECHOWSKA

 

XENIA NASELOU

 

YORGOS YATROMANOLAKIS

 

YUSUF SEVINCLI

 

 

« They who have put out the people’s eyes reproach them of their blindness. »
John Milton (poet, 1608-1674).

HOODOOLAB

 

“The human being dies two deaths, the physical death and then the immaterial death when
the image and the memory of the individual fades.”

-Christian Boltanski

The best place to see Hoodoolab’s archive of images is on their website (hoodoolab.net). Here the work is organized into collections; either by photographer, model, or event. These collections of found images (markets, the street etc.), do not have a personal connection to Day, Riopedre, or anyone else they know. Therefore, it is difficult to asses, with certainty, why most of these pictures were taken.