#Biennale de design

[raoullemercier]

2015 Saint-Étienne, musée d'Art et d'Industrie de Saint-Étienne • Your Mercury Ocean, 2009 Olafur Eliasson

[germanpostwarmodern]

In recent years the built and the graphic work of French architect Claude Parent in particular have received increased and overdue attention. With the exhibition „Claude Parent - L'œuvre construite, l'œuvre graphique“ the Cité de l’architecture et du patrimoine in Paris in 2010 jumpstarted the rediscovery of Parent‘s radical oeuvre by providing a comprehensive overview of his complete works. The accompanying catalogue, edited by Frédéric Migayrou & Francis Rambert and published by Editions HYX, still is offers the most complete collection of buildings, projects and drawings by the architect. With great attention to detail the catalogue presents Parent’s utopian architecture from his early, horizontal and vertical-oriented buildings over his famous oblique designs like the Church Sainte-Bernadette du Banlay (in collaboration with Paul Virilio) or the French pavilion at the 1970 Venice Biennale.

Browsing the book one can’t help but be astonished by the radicalism of Parent’s architecture and the fact that a considerable number of his radical designs were actually built. Concurrently Parent’s influence on a range of architects, e.g. Zaha Hadid or SANAA, becomes manifest and underscores just how visionary his ideas were.

In chronological order the catalogue unfolds a feast for the eyes that also is the perfect starting point for an in-depth engagement with this singular architectural and graphic oeuvre. Highly recommended!

[sound-art-text]

Sound at the 59th Venice Biennale (2022)

I'm afraid this years' collating of works relating to sound and listening will be an emergency run through as I only have a couple of days here unfortunately. Hoping for a longer stay and more comprehensive blog next time!

BRAZIL

Was all ears, literally. We entered through one. A strange red fabric balloon greeted us, then dramatically began to expand, and expand, until it filled the whole room and visitors had to run away or risk being crushed into the walls. Artist Jonathas de Andrade explores idioms related to the body. A fun experience.

AUSTRALIA

A 200-day performance by Marco Fusinato.

FRANCE

Not all related to sound, yet a turntable spins in the corner and attention to the sonic feels very present. A gorgeous, theatrical, sound-full, cinematic installation by Zineb Sedira. The work is about 'the drive to make militant films in the 1960s and ’70s', considering her historical ties to France, Algeria and the UK.

GREAT BRITAIN The winner of the Golden Lion this year, Sonia Boyce presents 'Feeling Her Way'. On entering the pavilion, up the grand neo-classical staircase, we're met with a large video installation, which then continues in every room. Women of colour, singing - improvising, together - solo. A wall of memorabilia, crowdsourced, honouring female black and brown musicians. Important work, and a wonderful archive. I wish I loved it. But why are these on-screen singers in Abbey Road studios, perhaps the most expensive and exclusive studios in the world? What's all the gold and glitz about? The politics of the work feels unresolved to me.

PHILIPPINES

A chant from the Cordillera region, translated into musical notation by the artist Gerardo Tan painting with squid ink on his tongue.

UZBEKISTAN

Abror Zufarov and Charli Tapp present a sleekly designed space with an evolving sound installation, in homage to the work of scientist Muhammad ibn Musa al-Khwarizmi (an anagram of his Latin-translated name gave us 'algorithm') and highlighting contributions towards technological developments from outside the West.

BELGIUM

Francis Alyss shows us children playing, utterly delightful in their games and calls. In this one, children are calling in a tone that mosquitoes are sensitive towards - they adjust their wingbeats to harmonise with the kids. Happily, Alyss has made all these videos available here.

[infinitiumme]

Anne Imhof at the Kunsthaus in Bregenz, 2024.

(Museum designed by Peter Zumthor)

Anne Imhof (b. 1978, Giessen) is a German performance and media artist. She completed her studies at the Städelschule in Frankfurt am Main in 2012. For the 57th Venice Biennale in 2017, she presented her work Faust in the German Pavilion for which she was awarded the Golden Lion for Best National Participation. This was followed by solo exhibitions at Tate Modern in London in 2019, the Palais de Tokyo in Paris in 2021, and her first solo exhibition in the Netherlands at the Stedelijk Museum Amsterdam in 2022, titled Youth

Source: Kunsthaus Bregenz

Pictures made by me and my brother, some with leica c2.

[disparate-gallery]

ESPACE LECTURE au MARCHÉ DES DOUVES

SAMEDI 6 et DIMANCHE 7 JUILLET 2024

Lors du salon d’éditeur.ice.s  au 2ème étage du Marché des Douves avec  Espace QG - Bibliothèque Queer et Genres La Fanzinothèque Disparate

Merci à Approche de nous avoir prêté des éléments du très beau mobilier conçu pour l’exposition Amorce dans le cadre de la biennale de design graphique Aperçu.

Merci à Julien, Valentine, ANA et Adèle pour le montage !

Dans le cadre du 𝗭𝗜𝗡𝗘𝗙𝗘𝗦𝗧 𝟭𝟭 RENCONTRES INTERNATIONALES DE MICRO-ÉDITIONS, FANZINES & MULTIPLES

Organisé par l’association DISPARATE Avec le soutien de la DRAC Nouvelle-Aquitaine et la ville de Bordeaux

zinefest.fr

[eventtimeltd]

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[abwwia]

Marta Magdalena Abakanowicz-Kosmowska (20 Jun 1930 – 20 Apr 2017)

was a Polish sculptor and fiber artist of #TartarDescent

She was known for her use of textiles as a sculptural medium and her outdoor installations.

In her first one-person exhibit at the Kordegarda Gallery in Warsaw in the spring of 1960, she included a series of four weavings along with a collection of gouaches and watercolors. Though her first exhibit received minimal critical notice, it helped advance her position within the Polish textile and fiber design movement and resulted in her inclusion into the first Biennale Internationale de le Tapisserie in Lausanne, Switzerland, in 1962. The event opened the way to her international success.

She is widely regarded as one of Poland's most internationally acclaimed artists.

She was a professor at the Academy of Fine Arts in Poznań, Poland, from 1965 to 1990 and a visiting professor at University of California, Los Angeles in 1984. Via Wikipedia

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#MagdalenaAbakanowicz #Abakanowicz #abakans #abakany #artbywomen #womeninarts #fiberart #fiberartist #textileart #sztukapolska #art #sztukakobiet #rzeźba #rzeźbiarka #sztuka #sculpture #femalesculptor #sculptor

[mybeingthere]

“Concetto Spaziale” - Lucio Fontana

Lucio FontanaB. 1899, ROSARIO DE SANTA FÉ, ARGENTINA; 

D. 1968, COMABBIO, ITALY

Lucio Fontana was born on February 19, 1899, in Rosario de Santa Fé, Argentina. His father was Italian and his mother Argentinean. He lived in Milan from 1905 to 1922 and then moved back to Argentina, where he worked as a sculptor in his father's studio for several years before opening his own. In 1926, he participated in the first exhibition of Nexus (formed in 1907), a group of young Argentinean artists in Rosario de Santa Fé. On his return to Milan in 1928, Fontana enrolled at the Accademia di belle arti di Brera, which he attended for two years.

The Galleria del Milione, Milan, organized Fontana's first solo exhibition in 1930. In 1934, he joined the group of abstract Italian sculptors associated with the gallery. The artist traveled to Paris in 1935 and joined the group Abstraction-Création (Abstraction Creation, 1931–36). The same year, he developed his skills in ceramics in Albisola, Italy, and later at the Sèvres factory, near Paris. In 1939, he joined the Milanese anti-Fascist artists' group Corrente (Current, 1938–43). He also intensified his lifelong collaboration with architects during this period.

In 1940, Fontana moved to Buenos Aires. With some of his students, he founded in 1946 the Academia de Altamira, from which emerged the "Manifesto blanco" (White manifesto, 1946). He moved back to Milan in 1947 and in collaboration with a group of writers and philosophers signed the "Primo manifesto dello spazialismo" (First manifesto of spatialism). He subsequently resumed his ceramic work in Albisola to explore these new ideas with his Concetti spaziali (Spatial concepts, 1949–60).

The year 1949 marked a turning point in Fontana's career; he concurrently created his first series of paintings in which he punctured the canvas with buchi (holes), and his first spatial environment, a combination of shapeless sculptures, fluorescent paintings, and black lights to be viewed in a dark room. The latter work soon led him to employ neon tubing in ceiling decoration. In the early 1950s, he participated in Italian Art Informel exhibitions. During this decade, he explored working with various effects, such as slashing and perforating, in both painting and sculpture. The artist visited New York in 1961 during a show of his work at the Martha Jackson Gallery. In 1966, he designed opera sets and costumes for La Scala, Milan.

In the last year of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases. These concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work, and at the 1968 Documenta, Kassel, West Germany. Fontana died on September 7, 1968, in Comabbio, Italy.

Guggenheim Museum

https://www.guggenheim.org/artwork/artist/lucio-fontana

[jours-feries]

The Swimmer de Frank Perry, 1968

Porto Design Biennale 2023

[carmenvicinanza]

Fede Cheti

“Lavoro esclusivamente con donne, sono ottime collaboratrici, validissime, puntuali. Sì, sono femminista: al cento per cento; anche se possiedo una buona dose di femminilità e desidero non indurire il mio temperamento per una vita commerciale. Perché la donna, indubbiamente, può dedicarsi a qualsiasi attività ritenuta “maschile” senza perdere la propria femminilità. Ed oggi, in generale, è simpaticissima, emancipata, sa quello che vuole: abbiamo donne che possiamo portare ad esempio agli uomini”.

Fede Cheti, la signora dei tessuti, è stata un’artista e imprenditrice italiana.

Figura di rilievo nel panorama culturale e intellettuale del dopoguerra, ha creato tendenza e intrecciato la sua attività con il mondo dell’architettura e del design collaborando con artisti come Giorgio de Chirico, Renato Guttuso, Filippo de Pisis, Raymond Peynet, Mario Sironi, Giò Ponti e molti altri ancora.

Ha partecipato alla Triennale di Milano dal 1930 al 1957.

I suoi disegni e sperimentazioni hanno contribuito a creare il gusto dell’arredamento di interni dell’Italia degli anni Cinquanta.

Il tessuto a cui più è legato il suo nome è il cinz, cotone lucido con cui ha decorato importanti dimore e allestimenti museali.

Alla Triennale di Milano del 1954 aveva presentato una fibra sintetica nuova, trasparente come vetro filato, abbinata a fibre classiche. Tra i suoi stampati ne spiccava uno che ricordava la pittura di Chagall, vero esempio di perfezione della stampa su stoffa, per profondità di toni, delicatezza nei passaggi di colore e perfetta vividezza. 

Ha esposto in mostre personali e collettive in Italia e all’estero esportando stile e eleganza italiani quando ancora non si parlava di made in Italy.

Nata a Savona il 10 novembre 1905 da Emanuele e Gemma Sanvenero, si era interessata all’arte tessile seguendo l’esempio della madre.

Dopo la morte del padre le due si erano trasferite a Milano, dove avviarono una attività artigianale che sperimentava tecniche di tessitura, di materiali e di disegni, creando stoffe per arredamenti.

Oltre ai disegni originali, col tempo, era passata ad acquistare i bozzetti da diversi artisti su cui imprimeva il suo marchio. 

Nel 1936 ha fondato la sua ditta, iscritta alla Camera di commercio come scuola di tappeti e di tessitura.

Ha lavorato anche durante la seconda guerra mondiale utilizzando materiali autarchici. Dopo il conflitto la sua azienda è cresciuta notevolmente, riportando colore e morbidezza di tessuti nelle abitazioni. Si stima che, in quegli anni, si avvalesse di centocinquanta artigiane.

Le sue creazioni riconosciute per originalità, eleganza e funzionalità, erano molto apprezzate anche all’estero, ha avuto punti vendita in diverse città, tra cui New York e Parigi.

Ha ricevuto molti riconoscimenti, nel 1948 a New York ha partecipato all’importante mostra Italy at Work: Her Renaissance in Design Today.

Nel 1950 alla Biennale di Venezia i suoi tessuti artistici furono premiati con la medaglia d’oro e nel febbraio 1960, a Londra, è stata l’unica donna a partecipare ai festeggiamenti per il centenario dei grandi magazzini Sanderson, la più importante casa inglese per stoffe d’arredamento. Ha decorato anche interni d’automobili e famosi yacht.

Nel 1963 ha vinto la medaglia d’oro Indathren per la migliore composizione cromatica realizzata su sciantung di cotone, alla Permanente per la III Biennale del tessuto per l’arredamento e il mobile imbottito. Nello stesso anno ha partecipato alla mostra Il colore nell’arredamento, promossa dalle città di Venezia, Vicenza e Verona.

Nel 1965 le è stato assegnato il premio Città di Milano quale migliore artefice distintasi nel campo delle arti figurative.

È stata la prima donna eletta socia d’onore della UISTA, Unione italiana stampa tessile ed abbigliamento, nel 1970.

Creativa, insofferente, ansiosa di sapere, giramondo, ha conquistato fama internazionale con la sua società che le è sopravvissuta e continua a essere leader nel settore.

Ha lavorato fino all’ultimo istante. Si è spenta a Genova il 18 novembre 1978.

Presso la sede storica della ditta, in Via Manzoni 23 a Milano, è conservato l’archivio dei suoi disegni e stoffe. Alcuni suoi disegni come Luna e stelle e Bocca d’asse sono esposti al Philadelphia Museum of Art.

[raoullemercier]

2015 Saint-Étienne, biennale de design

[craft2eu]

Dänische Biennale für Kunsthandwerk und Design 2025: Bewerbung bis 07.10.2024

Der dänische Verband für Kunsthandwerk und Design sucht nach Arbeiten, die die neuesten Trends zur Biennale für Kunsthandwerk und Design 2025 im Glas – Museum für Glaskunst Ebeltoft vorstellen. Diesmal hat der Open Call kein spezifisches Thema. Stattdessen will die Biennale gemeinsam mit dem Kuratorenkollektiv Ukurant im Glas – Museum für Glaskunst den Puls des Handwerks und des Designs im Jahr…

[lodecoen-showcase]

Biography of Lode - photo of Lode at 2 years old drawing a train with his left hand with a stick in the sand. And yes, his hair was that light blonde.

ENGLISH TEXT: © Lode Coen 2024

Lode Coen, was born in 1952, in Antwerp, Belgium, the  land of Rubens, Jan van Eyck, Magritte and Tintin. He hails from several generations of artists in his family: i.e. theatre makers, actors, musicians, composers and fine artists. 

He is left-handed and started drawing when he was about two years old.

In secondary school, he studied classical languages, Latin & Greek.

In 1972, he was accepted to the Royal Academy of Fine Arts in Antwerp. He studied graphic design. He started his career, designing posters for the theatre and television in 1976.

He is an early adopter, always eager to learn new skills. He purchased his first Mac in 1984. This led in 1987 to an extended 10-year stay in Silicon Valley. He worked on many pioneering projects: video games, interactive movies. 

As art and design director for Digital Pictures he managed a team of about 12 people and multimillion dollar budgets. He became an expert in CGI, special effects, 3D and UI design.

Back in the EU he founded his own company to create digital designs for IT companies in Silicon Valley for 18 years. Clients included Sun Microsystems, AMD, Intel, Bausch&Lomb, Pfizer, Oracle, Yahoo, PayPal.

For about 40 years he has taught at art and design academies throughout Europe, the U.S.A. and China. He was the president of Sint Lucas College, School of the Arts, in Antwerp (400+ students).

Lode studied Chinese for 10 years and this led to a tour in China. He gave lectures about his art and design practice in 20 top art universities in 10 major cities in 2016. He loves Chinese calligraphy. He is also well versed in Tai Chi and Qi Gong.

Since his retirement in 2017, he went back to his old love: creating fine art, but with the most advanced digital tools available.

His activity gained momentum in 2020. He won the Leonardo da Vinci Award in April 2023 in Milan. An ever growing number of awards, prizes, publications, exhibitions followed.

This culminated in winning the First Prize ‘Lorenzo il Magnifico” at the Florence Biennale in October 2023. Resulting in an exhibition at the Florence Academy of Fine Arts in January 2024.

Coming up: Galerie Espace Vision’Art, will host his solo exhibition, curated by Paul-Enzo, in the centre of Paris in December 2024. In October 2024 he is selected to participate in ‘Capsule Art Collection 4. Contemporary insights’, in Rome, curated by Dr. Monica Ferrarini. Also in October he will participate in the ‘Bienal de Arte’ at the MEAM in Barcelona, curated by Fondazione Effetto Arte.

Quote from Circle Foundation for the Arts—“Lode Coen's art is characterised by an exquisite fusion of elegance and surrealism, resulting in captivating and visually stunning imagery. Within his work, Coen has crafted a distinct visual realm where beauty, mystery, and the unexpected converge to form extraordinary compositions. While renowned for his mastery of CGI and Special FX, honed in the realms of both Silicon Valley and Hollywood, Lode Coen draws his primary inspiration from the Renaissance era.”

ITALIAN TEXT: © Lode Coen 2024

Lode Coen è nato nel 1952 ad Anversa, in Belgio, la terra di Rubens, Jan van Eyck, Magritte e Tintin. Proviene da diverse generazioni di artisti nella sua famiglia: vale a dire registi teatrali, attori, musicisti, compositori e artisti. 

È mancino e ha iniziato a disegnare quando aveva circa due anni. Alle superiori ha studiato lingue classiche, latino e greco. 

Nel 1972 è stato accettato alla Royal Academy of Fine Arts di Anversa. Ha studiato graphic design. Ha iniziato la sua carriera, progettando poster per il teatro e la televisione nel 1976. 

È un early adopter, sempre desideroso di apprendere nuove competenze. Ha acquistato il suo primo Mac nel 1984. Ciò lo ha portato nel 1987 a un soggiorno prolungato di 10 anni nella Silicon Valley. Ha lavorato a molti progetti pionieristici: videogiochi, film interattivi. 

Come direttore artistico e di design per Digital Pictures ha gestito un team di circa 12 persone e budget multimilionari. È diventato un esperto di CGI, effetti speciali, 3D e progettazione UI. 

Tornato nell'UE ha fondato la sua azienda per creare progetti digitali per aziende IT nella Silicon Valley per 18 anni. Tra i clienti figurano Sun Microsystems, AMD, Intel, Bausch&Lomb, Pfizer, Oracle, Yahoo, PayPal. 

Per circa 40 anni ha insegnato presso accademie di arte e design in tutta Europa, negli Stati Uniti e in Cina. È stato presidente del Sint Lucas College, School of the Arts, ad Anversa (oltre 400 studenti). 

Lode ha studiato cinese per 10 anni e questo lo ha portato a un tour in Cina. Ha tenuto lezioni sulla sua pratica artistica e di design in 20 delle migliori università d'arte in 10 grandi città nel 2016. Ama la calligrafia cinese. È anche esperto di Tai Chi e Qi Gong. 

Dal suo ritiro nel 2017, è tornato al suo vecchio amore: creare belle arti, ma con gli strumenti digitali più avanzati disponibili. 

La sua attività ha preso slancio nel 2020. Ha vinto il Premio Leonardo da Vinci nell'aprile 2023 a Milano. Sono seguiti un numero sempre crescente di premi, riconoscimenti, pubblicazioni, mostre. 

Ciò è culminato con la vittoria del Primo Premio "Lorenzo il Magnifico" alla Biennale di Firenze nell'ottobre 2023. Con conseguente mostra all'Accademia di Belle Arti di Firenze nel gennaio 2024. 

Prossimamente: Galerie Espace Vision'Art, ospiterà la sua mostra personale, curata da Paul-Enzo, nel centro di Parigi nel dicembre 2024. Nell'ottobre 2024 è selezionato per partecipare a "Capsule Art Collection 4. Contemporary insights", a Roma, curata dalla Dott. ssa Monica Ferrarini. Sempre a ottobre parteciperà alla "Bienal de Arte" al MEAM di Barcellona, curata dalla Fondazione Effetto Arte. 

Citazione da Circle Foundation for the Arts—"L'arte di Lode Coen è caratterizzata da una squisita fusione di eleganza e surrealismo, che si traduce in immagini accattivanti e visivamente sbalorditive. All'interno del suo lavoro, Coen ha creato un regno visivo distinto in cui bellezza, mistero e inaspettato convergono per formare composizioni straordinarie. Sebbene sia rinomato per la sua padronanza di CGI e effetti speciali, affinata nei regni sia della Silicon Valley che di Hollywood, Lode Coen trae la sua ispirazione primaria dall'era rinascimentale." 

[nfcwproject]

#nfcdab 2024 Gol - poster drop show

The Near-Field Communication Digital Art Biennale aka #nfcdab 2024 edition, coming from Berlin travelled in July to the world metropol Gol (NO). We have finally arrived in Gol, in the frame of Gol-dagan (The Gol Days Festival), July 19 - 21.

Having used the park in the 2018 I was searching for another venue. In the end I chose to just drop the posters on the local skatepark. The result wasn't too bad I thought  😅 - given our preference for ground/street, and for people looking on their phones in the downward direction. I also like that it looks like an accident! An option for similar drops (in the future perhaps) could be to fasten the posters to the ground, with tape/glue/stones for the show to last longer insteading of letting the wind spread the works. Or print out more copies and spread them like big flyers in the streets.

Thanks to the artists and NFCW Project for the opportunity and collab!

Artists and art projects: Adrian Pickett, Andrea Roccioletti, Andreas Maria Jacobs, Angy Vardalou, Anna Pinkas, Anna Utopia Giordano, AK Ocol, Ayshe Kizilçay - KiAy, Benna Gaean Maris, Bjørn Magnhildøen, Blazir, Bruce Barber, Bruno Melo, Bya de Paula, Dave Greber, Davey Whitcraft, Đurđija Vucinic, Elaine Crowe, James Hutchinson, Karl Heinz Jeron, Klaus Pinter, Marc Lee, Max Herman, Nico Vassilakis, Nicole Kouts, Oli Olinski, Osvaldo Cibils, Peter Kusek, Ricardo F. Bodini, Rudy Paganini - forevermidi_com, Shin Jungkyun, Stefanie Reling-Burns, Tiz Creel, Zsolt Mesterhazy, and #DUMPHAUS - Curated by Catalina Vallejos and Ronnie Karfiol - Artist: Featuring Deatxwish, Taiki Arita, Tiên Nguyên, Trí Thiện, Lê Duy, Xuân Minh, Gia Huy, Flounder Lee, Martina Noskova, Idklang, Aaporia, Magdi Mostafa, Jialun Wang, Hiroshi Murakami, David Longshaw, Athina Kanellopoulous, Ioana & Pablo, The Mainstream Official, Oksana Rudko, Liu Chang, Chloe Cheuk, Kayoko Nakamura, Aleksei Martyniuk, Blanche The Vidiot, F.C. Zuke, Nina Sumarac, Giuseppe De Benedittis, Ania Urbanski, Contaminated Carcass, Jaimerative Art.

Btw, I was curious what chatGPT would think of the show, here goes - ((:

Concept Overview: "#nfcdab 2024 Gol - poster drop show" is an innovative and interactive art exhibition that merges the physical and digital realms through a dynamic display of posters and QR codes. This exhibition invites viewers to engage with the transient nature of art and technology in the modern world.

Exhibition Layout: - Physical Space: The exhibition takes place in an open outdoor environment, such as a park, urban plaza, or large courtyard, where the natural elements like wind can freely interact with the artworks. - Materials: Lightweight, biodegradable posters with QR codes printed on them. The posters feature minimalist, intriguing designs that encourage viewers to pick them up and scan the codes. - Dynamic Interaction: The posters are initially scattered on the ground. As the wind blows, the posters move, creating an ever-changing landscape of potential interactions.

Interactive Elements: - QR Codes: Each QR code leads to a unique digital artwork hosted online. The digital artworks can range from digital paintings, animations, interactive installations, soundscapes, or augmented reality experiences. - Digital Access: Scanning a QR code with a smartphone or tablet transports the viewer to a digital space, bridging the gap between the physical and virtual worlds. - User Participation: Visitors are encouraged to pick up the posters, scan the QR codes, and even take the posters with them. This act of collecting and sharing the posters becomes a form of participation in the art experience.

Thematic Focus: - Transience and Impermanence: The moving posters symbolize the fleeting nature of digital art and information in the age of the internet. Just as the wind reshapes the landscape, digital content is constantly changing and evolving. - Interaction and Connectivity: The exhibition emphasizes the importance of interaction and connectivity. The physical act of scanning a QR code leads to a deeper, more personal engagement with the artwork. - Environmental Awareness: Using biodegradable materials highlights the exhibition's commitment to sustainability and environmental consciousness. The ephemeral quality of the posters mirrors the need to address the impermanent nature of our environmental impact.

Visitor Experience: - Discovery and Exploration: Visitors wander through the space, discovering and rediscovering artworks as the posters move and change location. Each encounter with a poster can lead to a new and unexpected digital experience. - Community and Sharing: As visitors collect posters, they can share the QR codes with others, spreading the reach of the digital artworks beyond the physical boundaries of the exhibition. - Reflection: The exhibition encourages reflection on the nature of art in the digital age, the role of technology in our lives, and our relationship with the environment.

Artist Contributions: - Digital Artists: The exhibition features a diverse group of digital artists from around the world, each contributing unique pieces that explore themes of transience, technology, and connectivity. - Collaborative Works: Some QR codes may lead to collaborative digital installations where multiple artists have worked together to create an interconnected experience.

Conclusion: "#nfcdab 2024 Gol - poster drop show: " is an art exhibition that challenges traditional notions of art display and interaction. By combining physical movement and digital engagement, it offers a thought-provoking exploration of the impermanence and connectivity that define our contemporary experience. The exhibition invites viewers to be active participants, discovering, collecting, and sharing artworks in a constantly shifting environment, much like the digital world we inhabit.

[delaramsaeb]

Aziz + Cucher

Aziz + Cucher have been collaborators since 1992, after meeting as graduate students at the San Francisco Art Institute. They are now Fine Arts faculty at Parsons School of Design in New York and are based in Brooklyn. Their interdisciplinary practice spans video, photography, screen-printing, textiles, sculpture, and digital animation. Their work explores the fluid and undefined boundaries of identity, often blending reality and fiction to reveal the pathologies of globalization, post-human conditions, and intersections of the social, biological, and technological. They aim to express the anxieties and expectations of contemporary life through visual poetics

Aziz + Cucher have exhibited at prestigious venues including the 46th Venice Biennale, MASS MoCA, the New Museum (New York), the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the List Visual Art Center at MIT, the National Gallery of Berlin, and the Museo Nacional Centro de Arte Reina Sofia (Madrid). Their work is in public collections such as LACMA, SFMOMA, Fonds National d'Art Contemporain (Paris), Galería de Arte Nacional (Caracas), and the Museum of Contemporary Photography.

May - Dystopia, 1994-95 - C-Print, 50 x 40''

The image presented is a haunting visual exploration of identity, or rather the loss of it, reflecting a deep commentary on the effects of technology and societal norms on individuality. The photograph depicts a young person, adorned with a delicate floral crown that traditionally symbolizes innocence, beauty, and nature. However, this idyllic image is starkly disrupted by the eerie absence of facial features—eyes, nose, and mouth have been digitally erased, leaving a smooth, featureless expanse where a face should be. This unsettling alteration transforms the portrait into a powerful critique of anonymity and conformity in a technologically driven society.

I am inspired by Aziz + Cucher to explore different artistic mediums, blending them to express my ideas in new ways. Their focus on identity, especially under the influence of technology and societal pressures, pushes me to examine similar themes in my work. Their critique of globalization and its impact on individuality makes me reflect on how these forces affect my life. I am also drawn to how they use visual poetics to convey deep emotions, motivating me to incorporate symbolic elements into my creations. Their haunting imagery, like the faceless portrait in "Dystopia," inspires me to explore themes of anonymity and conformity in my work.

[marrakeshminibus]

Cultural Immersion: Festivals and Events You Can't-Miss in Marrakesh

Marrakesh, the vibrant heart of Morocco, is a city where the old and new coexist harmoniously. Its bustling souks, majestic palaces, and serene gardens are just the beginning of its charm. To truly understand Marrakesh, one must dive deep into its rich cultural tapestry, especially through its festivals and events. These celebrations offer a unique glimpse into the traditions, values, and spirit of the Moroccan people. Here are some of the must-experience festivals and events in Marrakesh that promise an unforgettable cultural immersion.

1. Marrakech Popular Arts Festival (Festival National des Arts Populaire’s)

One of the oldest festivals in Morocco, the Marrakech Popular Arts Festival is a vibrant celebration of traditional Moroccan music, dance, and folklore. Held annually in July, this festival brings together performers from all over the country to showcase their unique cultural expressions. The festival is a sensory delight with performances taking place in historic venues like the El Badi Palace and the Menara Gardens. Visitors can witness everything from Berber dances to Gnawa music, offering a deep dive into Morocco's diverse cultural heritage.

2. Marrakech International Film Festival

For film enthusiasts, the Marrakech International Film Festival is a highlight of the city's cultural calendar. Held every December, this festival attracts filmmakers, actors, and cinema lovers from around the world. With a focus on promoting Moroccan and African cinema, the festival features a diverse range of films, from indie productions to big-budget blockbusters. The red-carpet events, open-air screenings in Jemaa el-Fnaa, and panel discussions with industry experts make this a must-attend event for anyone interested in the art of filmmaking.

3. Imilchil Marriage Festival

Although not held in Marrakesh itself, the Imilchil Marriage Festival is a unique event that offers an unforgettable cultural experience. Taking place in the nearby Atlas Mountains, this festival is a mass wedding ceremony for the Berber tribes of the region. Legend has it that the festival originated from a tragic love story, and today it serves as a time for eligible men and women to find their partners. Visitors can witness traditional Berber music, dances, and rituals, providing a fascinating insight into the customs and traditions of the local people.

4. Ramadan and Eid Celebrations

Experiencing Ramadan in Marrakesh is a profound cultural immersion. During this holy month, the city's rhythm changes dramatically. The days are quiet and reflective, while the nights come alive with communal meals and gatherings. The breaking of the fast, known as Iftar, is a communal affair, often shared with friends and neighbors. Eid al-Fitr, the festival marking the end of Ramadan, is a joyous occasion with feasts, family gatherings, and special prayers. Participating in these celebrations offers a unique perspective on the religious and cultural fabric of Moroccan society.

5. Marrakech Biennale

The Marrakech Biennale is a contemporary art festival that has gained international acclaim. Held every two years, the event features a diverse array of visual arts, literature, film, and performance art from both Moroccan and international artists. The biennale transforms the city into a living canvas, with exhibitions and installations taking place in historic sites, public spaces, and galleries. This festival is a testament to Marrakesh's growing reputation as a hub for contemporary art and culture.

6. Yves Saint Laurent Museum and Jardin Majorelle Events

The Yves Saint Laurent Museum and the adjacent Jardin Majorelle are iconic cultural landmarks in Marrakesh. Throughout the year, these venues host a variety of events, including fashion shows, art exhibitions, and cultural workshops. The museum, dedicated to the life and work of the legendary fashion designer, offers a fascinating glimpse into the world of haute couture. The beautifully restored gardens provide a serene backdrop for many cultural activities, making them a must-visit for anyone interested in art and fashion.

Conclusion

Marrakesh is a city that thrives on its cultural diversity and rich traditions. Its festivals and events offer travelers a unique opportunity to immerse themselves in the local culture, providing experiences that go beyond the usual tourist attractions. Whether you're swaying to traditional Berber music, marveling at contemporary art, or celebrating with the locals during Ramadan, Marrakesh's cultural calendar promises an unforgettable journey of discovery.

To make the most of your cultural exploration in Marrakesh, consider using Marrakesh Minibus for your travel needs. Their reliable and comfortable service ensures that you can navigate the city with ease, allowing you to focus on soaking in the vibrant cultural experiences that Marrakesh has to offer. So pack your bags, open your heart, and get ready to experience the magic of Marrakesh through its festivals and events.

Happy travels!

Credit:

Marrakesh Minibus