maurosouza2024

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Between was about defining cultural territory.  This collection played with somewhat alien head shapes that could have been a reference to the way women were depicted in ancient middle and near eastern art.  This is also the collection that featured the chadors with ever climbing hem lines.  The chador is a traditional muslim veil which completely covers a woman save for her eyes. The first model wears a complete chador, and every model after her wears a progressively shorter one until one girl is left completely bare from the chin down. https://chalayan.com/

Hussein Chalayan: 'Between' Spring/Summer 1998

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Paul McCarthy and Lilith Stangenberg on performance, drawing and power

[maurosouza2024]

the DNA Campana

CAMPANA INSPIRATION

Inspiration from living nature, plural culture, the Brazilian way of creating solutions through addition, mixing, and improvisation. Our origins, which gave us references, and our experiences, which gave us a unique way of seeing the world.

https://estudiocampana.com.br/

Campana Brothers, Harumaki chair from the Sushi series, 2004, Aluminum, carpet, rubber, Ethylene vinyl acetate, 23 w × 24 d × 34½ h in (58 × 61 × 88 cm)

[maurosouza2024]

Matthew Barney’s large-scale multimedia projects fuse performance art, video, and sculptural installation as they explore historical narratives, the politics of the body, and the physicality and eroticism of sport. Barney’s wide conceptual and formal program is perhaps best exemplified in The Cremaster Cycle (1994–2002), an epic story that the artist tells through five feature-length films and accompanying sculptures, drawings, installations, and photographs. One of the suite’s recurring motifs uses the biological process of sexual maturation as a metaphor for artistic creation and development. Barney has participated in the Venice Biennale, the Whitney Biennial, and Documenta. He has been the subject of exhibitions at the Guggenheim Museum, the Walker Art Center, the Whitney Museum of American Art, the Museum of Modern Art, and Munich’s Haus der Kunst. Barney’s work has sold for up to seven figures at auction.

http://matthewbarney.net/

[maurosouza2024]

Do Ho Suh (Korean: 서도호; Hanja: 徐道濩; born 1962) is a South Korean artist who works primarily in sculpture, installation, and drawing. Suh is well known for re-creating architectural structures and objects using fabric in what the artist describes as an "act of memorialization." After earning a Bachelor of Fine Arts and Master of Fine Arts from Seoul National University in Korean painting, Suh began experimenting with sculpture and installation while studying at the Rhode Island School of Design (RISD). He graduated with a Bachelor of Fine Arts in painting from RISD in 1994, and went on to Yale where he graduated with a Master of Fine Arts in sculpture in 1997. He practiced for over a decade in New York before moving to London in 2010. Suh regularly shows his work around the world, including Venice where he represented Korea at the 49th Venice Biennale in 2001. In 2017, Suh was the recipient of the Ho-Am Prize in the Arts. Suh currently lives and works in London.

Do Ho Suh, Home within a home

[maurosouza2024]

American-Korean, Texas-born model, actor, singer and designer Kiko Mizuhara [IG] covers the April 2024 issue of Vogue Taiwan [IG]. The prodigious talent grew up in Japan and initially found herself heart-broken at being told that she was too short to be a model — and not having a famous model mom to solve the height challenge in fashion world.

Kiko Mizuhara by Zhong Lin for Vogue Taiwan April 2024

[maurosouza2024]

Prada Foundation Milan part 1 – Rem Koolhaas

2015 has been an exciting year for Milan; along with the World’s Fair, two major cultural venues were inaugurated this year in the city: the Mudec – Museum of Cultures and, in May, the new Fondazione Prada, designed by the international firm OMA, led by the Dutch architect Rem Koolhaas. https://www.inexhibit.com/case-studies/prada-foundation-milan-part-1-rem-koolhaas-architecture/

[maurosouza2024]

https://tillmans.co.uk

Venus transit, 2004 by Wolfgang Tillmans

“A “transit of Venus” happens when the sun, Venus and Earth are in perfect alignment. From Earth, you can observe a small black disc – Venus – slowly wandering over the sun over the course of several hours. This happens in a pattern that repeats every 243 years: there’s a gap of 122 years, then a pair of transits spaced eight years apart, then a gap of 105 years, then another pair. On 8 June 2004 the most recent transit happened – the first time any human being then alive could have seen it.

In the 18th and 19th century the phenomenon had huge importance. Scientists would time the passage of Venus from several vantage points on Earth. It was the only way to establish our own exact position in relation to the sun, and hence the universe around us.

Observing the 2004 transit through my telescope, which I still have from my astronomy-obsessed teenage days, had no scientific value, but it was moving to see the mechanics of the sky. To see a planet actually move in front of another gave me a visual sense of my location in space. Occasionally, I exchanged the eyepiece of the telescope with a camera adaptor for my 35mm SLR. To make it safe, the light of the sun has to be reduced so much that the exposure time is a quarter of a second. Given the high magnification of the telescope it is difficult to avoid shakes. In all, I managed to take seven good pictures. The pink tint is the colour of the mylar filter I used.

In those years I was mostly involving myself with abstract pictures I made purely with light on photo paper in the darkroom. Those pictures are often soft in feel while the Venus Transit pictures are hard-edged, but equally they seem somehow abstract, when in fact they are totally representational, depicting the celestial body that is the source of light on Earth. I have often shown them with the abstract works. They highlight the fact that all photographs are made, never just taken. They are colour on paper and at the same time evoke a sense of reality no other medium can achieve.” - Wolfgang Tillmans

Photographer Wolfgang Tillmans’s best shot | Art and design | The Guardian

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Born 1956 in Folkestone, United Kingdom. Lives and works in Brussels. https://www.axel-vervoordt.com/gallery/artists/ann-veronica-janssens

ICONIC / ANN VERONICA JANSSENS - FANTAZY, 2013

Installation. Brouillard multicolore en lumière naturelle / Multicolored mist in natural light

Dimensions variables

Vue de l’exposition / View of the exhibition, 

kamel mennour, Paris

© ADAGP Ann Veronica Janssens Photo. Fabrice Seixas Courtesy the artist and kamel mennour, Paris

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(via Bloom-05.jpg (2000×1333))

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https://olafureliasson.net

Olafur Eliasson, Philip Ursprung - Studio Olafur Eliasson, An Encyclopedia (book), 2008 [Limited Art Edition with a cold formed and mirror polished steel plate as cover]

[maurosouza2024]

Élégance!!! https://www.yuliagorbachenko.com

Yulia Gorbachenko

[maurosouza2024]

CONVERSATIONS BETWEEN OTHERS, 2023

wool, desk, chair

Duo Exhibition: Song Dong x Shiota Chiharu

Yuelai Art Museum, Chongqing, China

photos by Zhao Mingxu

courtesy the artist and YUELAI Art Museum

https://www.chiharu-shiota.com

Chiharu Shiota: Conversations Between Others (2023)

[maurosouza2024]

Rem Koolhaas, por uma cidade genérica ...

generic city, junkspace, territorial configuration, networks and information flows, professional discourse https://shcu2014.com.br/discurso%20profissional/242.html

Rem Koolhaas: Generic City

[maurosouza2024]

How Yves Klein Tricked the World with This Iconic Photograph

Jacqui Palumbo

Leap into the Void, Yves Klein with Harry Shunk and János Kender, 1960

"The keyword: void, can be interpreted as the abyss between his horizontal body and the floor, or between the performance and the lens. It is the action that is salient, not necessarily the technique. The action is manifested in the objectification of the subject." x

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Marte Mei van Haaster Dazed & Confused (2012) ph. Jim Goldberg

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Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web

The word “network” has become a ubiquitous designation for technical infrastructures, social relations, geopolitics, mafias, and, of course, our new life online. [footnote Bruno Latour, Reassembling the Social. An Introduction to Actor-Network Theory (Oxford: Oxford University Press, 2005).] But networks, in the way they are usually drawn, have the great visual defect of being “anemic” and “anorexic,” in the words of philosopher Peter Sloterdijk, who has devised a philosophy of spheres and envelopes.[footnote Peter Sloterdijk, Sphären III – Schäume (Frankfurt: Suhrkamp, 2004) [partial translation: Peter Sloterdijk, Terror from the Air, trans. Amy Patton & Steve Corcoran (Los Angeles: Semiotext(e), 2009)]]; see also Peter Sloterdijk, “Foreword to the Theory of Spheres,” in Cosmograms, ed. Melik Ohanian and Jean-Christophe Royoux (New York and Berlin: Lukas and Sternberg, 2005) 223–241, see →.] Unlike networks, spheres are not anemic, not just points and links, but complex ecosystems in which forms of life define their “immunity” by devising protective walls and inventing elaborate systems of air conditioning. Inside those artificial spheres of existence, through a process Sloterdijk calls “anthropotechnics,” humans are born and raised. The two concepts of networks and spheres are clearly in contradistinction to one another: while networks are good at describing long-distance and unexpected connections starting from local points, spheres are useful for describing local, fragile, and complex “atmospheric conditions”—another of Sloterdijk’s terms. Networks are good at stressing edges and movements; spheres at highlighting envelopes and wombs.

Of course, both notions are indispensable for registering the originality of what is called “globalization,” an empty term that is unable to define from which localities, and through which connections, the “global” is assumed to act. Most people who enjoy speaking of the “global world” live in narrow, provincial confines with few connections to other equally provincial abodes in far away places. Academia is one case. So is Wall Street. One thing is certain: the globalized world has no “globe” inside which it could reside. As for Gaia, the goddess of the Earth, we seem to have great difficulty housing her inside our global view, and even more difficulty housing ourselves inside her complex cybernetic feedbacks. It is the globe that is most absent in the era of globalization. Bad luck: when we had a globe during the classical age of discoveries and empire, there was no globalization; and now that we have to absorb truly global problems…

Excerpt from Bruno Latour, Some Experiments in Art and Politics. Eflux, March 2011.

https://studiotomassaraceno.org/

Tomas Saraceno