#Louis Minnaar

[erstwhile-punk-guerito]

[posterporn]

District 9 (2009) by [?]

Directed by Neill Blomkamp

Starring Sharlton Copley, Jason Cope, David James, Vanessa Haywood, Mandla Gaduka, Kenneth Nkosi, Eugene Khumbanyiwa, Louis Minnaar, & William Allen Young

[thelegacyproject]

Louis Minnaar

Louis Minnaar forms one half of Albino Creations, with Werner Burger. Their amazing collaboration allows them to tackle animation, illustration and design work, and from what we can see, there is no shortage of magnificence in their work. They see beauty in things that ordinarily seem odd, and this gives them their explicit uniqueness. From album designs, to label design, to animated adverts and more. Louis has also been producing work which led him to start up his own production company, Louis Minnaar Creative Visual Design. He is also a member of Bittereinder, the most eloquent electro pop trio in South Africa.

My Definition Of Success:

“I have absolutely no idea what it means, as I have never felt like I have achieved any specific amount of success. If it means reaching little milestones, then I guess I have had some successful moments. However the idea that there is this end destination where I will feel like “I have made it” is quite depressing to me. I never want to get to a place where I feel like I have made a huge success – it would only take away all the tension in the story line of my career.”

I Am Driven By:

“The need to finish a good project. I love creating and I love the process of getting to a finished product but most of all I love the finished product and feeling like I have gotten something out of my system.”

My Highlights:

“Apart from overcoming a lot of fear by doing some public speaking at a couple of design conferences in South Africa and the Netherlands, I have to say that performing in front of a crowd of around 20 000 dancing people at Oppikoppi with my 2 best friends (Peach and Jaco in our band, Bittereinder) has to be one of those highlights.”

A Key Talent:

“One thing that I have been told I am good at is the ability to work really fast. This has lead me to be able to focus on multiple creative disciplines and roll out quite a lot of work. I know a lot of people like to spend more time on one thing and really crafting it, but I think there is a lot of value in being able to do creative things really quickly and churn out more creative content. This is not a skill that I can relay very well. I guess it has to do with a lot of practice and time management.”

Principles I Live By:

“I believe that we can all build an amazing world to live in, if we start serving others and not just ourselves. I think selfishness is a characteristic that I hate most in myself and the world. I can only imagine that the world will be an amazing place if everyone starts serving each other in love and respect.”

Lessons I Have Learnt:

“I am still quite young, but so far I have learnt that life is bigger than work. I love being creative and I love working, but in the end I love having a meaningful conversation with my wife, or spending time with my dog, or eating something messy without having a napkin- more than working in an office.”

Dealing With Doubt:

“I think almost any creative person struggles with self-doubt and fear at some or other point in his/her career. It’s only natural. I find that it is very taxing to have to be super creative all the time and that is what is expected of us. The problem is there isn’t an on and off button for creativity – and this can lead to a lot of anxiety in my opinion.”

Performing At My Peak:

“I don’t believe I have ever performed at my peak. I think there is great potential in humans and we only tap into a small part of what we are capable of. That being said, when I don’t exercise (cycle) and sleep properly, I tend to lose focus real quick.”

The Best Advice I’ve Received:

“To take it one baby step at a time. It’s so easy to get overwhelmed with all the projects, expectations, obligations and all the clutter in our day to day. I find that anxiety for the future is something that can kill creativity. I like the idea of taking little steps in one direction. It keeps me focused on one thing at a time and gives me energy for all the other million things.”

Advice On Building Wealth:

“Don’t become an artist :).”

[rcvandenboogaard]

De vrije vrouwen van 1914

Een naar hedendaagse maatstaven opmerkelijke seksuele ondernemingslust, een hele reeks minnaars, uit liefde en uit materiële overwegingen - het leven van Mata Hari, die dezer dagen honderd jaar geleden voor het vuurpeloton stond, kan heden ten dage nog verbazen. Toch was een dergelijke levensloop in het Frankrijk van het begin van de Twintigste Eeuw minder uitzonderlijk dan je misschien zou denken. De actrice Sarah Bernhardt bijvoorbeeld, in veel opzichten de eerste ‘wereldster’ uit de geschiedenis, manipuleerde ook een schare minaars - van actrices in die tijd werd ook vaak niet anders verwacht.

Maar het beroemdste voorbeeld van seksuele vrijmoedigheid in deze tijd is misschien nog wel de schrijfster en actrice Colette - eigenlijk Sidonie-Gabriëlle Colette (1873-1954). De afbeelding hierboven is een publiciteitsfoto voor een pantomime waarmee ze in 1906 optrad in de Moulin Rouge in Parijs: Rêve d’Égypte, en die groot schandaal veroorzaakte. Links staat Colette’s tegenspeler, de transseksueel Mathilde de Morny (’Missy’), met wie Colette jarenlang een seksuele verhouding had, los van haar meer eenduidig heteroseksuele avonturen. In Rêve d’Égypte treft een ontdekkingsreiziger een mummie aan, die hij afwikkelt en die dan plots tot leven komt. 

Het was niet die blote borst die het schandaal veroorzaakte. Colette had al eerder in luchtige, tot de verbeelding sprekende kledij op het podium gestaan in verschillende theaters - vaak, net als Mata Hari, in een quasi-oosters scenario. Wat tumult in de zaal veroorzaakte - en ingrijpen van de overheid dreigde teweeg te brengen - was de lange kus die ontdekker en mummie elkaar op het toneel gaven. En dan was het nog niet eens die kus op zich, die tot hevige protesten in de zaal aanleiding gaf. De lesbische liefde die de kus suggereerde, was evenmin de steen des aanstoots. De liefde tussen vrouwen was een min of meer pikant, maar geaccepteerd verschijnsel voor het bohémien-milieu waartoe Colette behoorde. Nee, het punt was dat Mathilde Morny - overigens een van de eerste, of misschien zelfs de allereerste vrouw die zich operatief tot man heeft laten maken - uit de hoogste adelijke kringen afkomstig was. Dat zo iemand zich publiekelijk overgaf aan libidineuze praktijken gold als een onaanvaardbare inbreuk op de sociale orde.

Het leven van Colette is al vaak beschreven. Zij viel op jeugdige leeftijd in handen van Henry Gauthier-Villars, bijgenaamd Willy, die een soort fabriekje voor populaire romans bedreef. Colette bleek aardig te kunnen schrijven, vooral semi-autobiografische romans met een zekere erotische lading, die vanaf 1895 verschenen als de reeks Claudine, onder de auteursnaam Willy. Willy zelf was een notoire rokkenjager, die er geen bezwaar tegen had dat zijn vrouw lesbische avonturen had. In 1906 had Colette er echter genoeg van. Ze liet zich scheiden. Voortaan zouden de romans onder haar eigen naam verschijnen. 

Om aan de kost te komen, wierp ze zich ook op als actrice. In toneelbewerkingen van haar eigen romans en de al genoemde pantomimes toerde ze door heel Frankrijk en werd geleidelijk aan een beroemdheid. Ook ging ze steeds vaker voor allerlei kranten en bladen reportages schrijven, vooral nadat ze in 1912 was hertrouwd met Henry de Jouvenel, hoofdredacteur van het dagblad Le Matin. Later had ze nog een langdurige verhouding met diens zoon Bertrand, die de basis is voor de roman Chéri, waarnaar Stephen Frears een paar jaar geleden nog een vreselijk slechte film gemaakt heeft.

Haar zeer omvangrijk oeuvre is nu misschien een beetje ouderwets, maar nog wel in populaire pocket-edities verkrijgbaar, vooral de Claudine-romans. Tot haar dood is ze een bekende figuur gebleven, en zelfs zeer gerespecteerd als literator: ze was lid van de Académie Goncourt, en ze is de tweede vrouw in de Franse geschiedenis die een staatsbegrafenis ten deel viel - na die van Sarah Bernhardt in 1923.

Aan de zeer uitvoerige literatuur over Colette heeft Dominique Bona, schrijfster en lid van de Académie Française, nu een origineel boek toegevoegd. Colette et les siennes beschrijft hoe Colette met drie vriendinnen in 1914, als alle mannen van Parijs naar het front zijn geroepen, een soort woongemeenschap opzet in een houten huis in Passy, toebehorend aan Colette’s echtgenoot Jouvenel. Het zijn vreemde tijden. Dat de meeste mannen voor het leger zijn opgeroepen biedt vrouwen echter kansen, bijvoorbeeld in de journalistiek. Vriendin Annie de Pène, die in 1918 aan de Spaanse griep zal overlijden, specialiseert zich in felrealistische reportages uit de loopgraven. De andere vriendinnen zijn de actrice Marguerite Moreno (1871-1948) en de danseres/actrice Musidora (1889-1957). Die laatste is vooral bekend van haar rol als Irma Vep in de meer dan zeven uur durende film Les Vampires van Louis Feuillade uit 1915. Gehuld in een nauwsluitend, enigszins doorzichtig tricot verricht ze daarin halsbrekende toeren op daken. Ze wordt later een van de lievelingen van de Surrealistische beweging. 

Bona beschrijft het opmerkelijke leven van het viertal. Allen kennen meerdere huwelijken en scheidingen, lesbische relaties, armoede en succes. Burgerfatsoen en moralisme lappen ze aan hun laars. Niet zozeer vanuit een feministisch programma, maar gewoon, bijna vanzelfsprekend, omdat je als vrouw nu eenmaal leven moet en er het beste van maken.

De merkwaardigste episode die Bona in haar erg leuke boek onthult, betreft Colette zelf. Omdat ze de seks met Jouvenel zo mist, reist Colette in 1915 clandestien naar Verdun, waar haar echtgenoot aan het front is gestationeerd - dit alles is nog voor de grote slag van Verdun in 1916. Ze duikt maandenlang onder in een huis in het plaatsje, waar dag en nacht het geluid van mortieren, kanonnen en andere wapens te horen is. Wanneer Jouvenel even weg mag van het front, voegt hij zich in de sponde bij zijn ondernemende vrouw. En na de liefdesnacht keert hij weer terug naar het front. Jouvenel zou de oorlog overigens overleven.

Dominique Bona: Colette et les siennes. Grasset 2017.

Afbeelding boven: Colette (rechts) en Mathilde de Morny in Rêve d;Égypte.

Afbeeldingen onder, achtereenvolgens: Colette en Willy Colette en Missy Marguerite Moreno Musidora in Les Vampires Annie de Pène Colette sport Colette op latere leeftijd.

[scifando-blog]

Movie: District 9 (Distrito 9, 2009) Direction: Neill Blomkamp Cast: Sharlto Copley, Jason Cope, Vanessa Haywood, Louis Minnaar #scifi #movie #district9 #2009 #socialcriticism #alien #help https://www.instagram.com/p/BvZJvDbHhWP/?utm_source=ig_tumblr_share&igshid=1jai4fkydmaa8

[sabryna88rsi]

District 9 (2009)

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District 9 USA, Sudafrica, Nuova Zelanda, 2009 Genere: Fantascienza Regia di Neill Blomkamp Con Sharlto Copley, David James, Jason Cope, Mandla Gaduka, Vanessa Haywood, Kenneth Nkosi, Louis Minnaar, William Allen Young… TRAMA DEL FILM: Gli alieni sbarcarono sulla terra circa trent’anni fa. Gli umani riuscirono a contenere…

[doomonfilm]

Thoughts : District 9 (2009)

Back in my early days of discovering YouTube, I came across a proof-of-concept style video that showed an alien taking on a group of heavily armed soldiers that, upon first glance, looked extremely and convincingly real.  That bit of footage left a lasting impression on many, and not too long after, word of a science-fiction film featuring aliens in Johannesburg begin to emerge, and though I’d not yet directly connected the dots, my excitement began to rise.  Eventually, trailers for District 9 hit the scene, and my excitement hit a fever pitch... one that was rewarded upon finally getting to see the film.

A strange, alien ship appears above Johannesburg in the year 1982, causing fear and panic below.  After investigation, it’s discovered that the ship is populated by a colony of malnourished, displaced aliens.  The population is moved to a slum known as District 9 by the South African government, which causes tension and unrest with the South African population due to the hygiene and unruly nature of the aliens, now dubbed Prawns.  After nearly three decades of this tension, a weapons manufacturer known as Multinational United (MNU) is hired to relocate the Prawns to a new district, away from the locals.  MNU executive Piet Smit (Louis Minnaar) hires his son-in-law Wikus (Sharlto Copley) to lead the relocation process, a task that is clearly above his skill level.  Meanwhile, in the Prawn community, a Prawn known as Christopher Johnson (Jason Cope), his son and his companion search for a compound fuel that Christopher has created, in hopes of enacting an escape plan.  Unfortunately, his search is interrupted by Wikus and his team, and in the midst of searching the place, Wikus is accidentally exposed to the compound.  As Wikus faces the effects of the compound, he is slowly removed from his role as leader, leaving the mercenaries of MNU to their own devices, which heightens the unrest in District 9.  With Wikus in fear of his life, he seeks refuge in District 9, whose fate hangs in the balance as the tensions turn to all out combat.

While immigration has always been a hot button issue in our world, the events of District 9 feel like art imitating life on an absurd level in light of our current political situation.  As easy as it would have been to place this film in a ‘marquee’ city (read : Los Angeles, Paris, New York, etc.), the placement of the film in Johannesburg is intriguing due to the already tenuous co-existence of natural-born Africans, the British that invaded and set up rule, and the range of people born into the middle of this tension, not to mention the shadow of Apartheid that the country will always live in.  The Prawn community are treated like invaders, but under closer examination, they are truly refugees lost in a foreign land, treated like criminals and kicked when they were already down.

Much of the social commentary in the film deals not only with immigration on a grand scale, but it focuses in quite well on the human element of it all.  The way that humans dub the aliens as Prawns due to identifying them as ‘bottom-feeders’ echoes the true human nature of cutting those we deem outside of our circle down to size in the simplest terms possible.  MNU, therefore, becomes symbolic in nature of how corporations are slowly becoming the new power in society, putting their administrative and militaristic shortcomings front and center.  I also find it interesting that the Prawns and their naturally destructive behavior becomes a factor that can be exploited by the humans, granting them access to alien technology by feeding off of the base needs Prawns exhibit.  They are further exploited by the warlords of the slum black markets, as many are preyed upon and eaten in hopes of gaining access to using the weapons.  Ironically, this inhumane behavior is echoed by MNU once they get their hands on Wikus, exposing the fact that their true goals fall directly in line with those of the warlords in the slums.

For the time, the integration of CG effects into the real world was nearly seamless, and in my opinion, has held up over the past decade quite well.  While science fiction has often been the grounds for making social commentary, the film still manages to feel original in its spirit.  The documentary style that weaves in and out of the narrative not only helps streamline exposition, but it further grounds the film in reality, making the alien presence and technology less jarring.  The Johannesburg location provides a rich texture of slum environments, as well as colloquialisms, slang and accents that give the dialogue a unique and pleasing rhythm.  As Wikus descends deeper into his Prawn transformation, the feeling of a Bodhi horror film emerges in the form of his loss of humanity... he loses teeth, fingernails, and even limbs to the transformation in a way that echoes films like The Fly or Tetsuo : The Iron Man.  The aged up nature of the alien technology present in the film is a nice touch as well, as my preferred science fiction aesthetic skews away from shiny tech.

The cast is mostly made up of incidental characters and talking heads meant to speak exposition and move the story forward, but the cast in charge of carrying the narrative weight stands out quite well in terms of balance.  Sharlto Copley embodies the nature of incompetence at the administrative level to a comically real degree, with his confidence and innocence being the only qualities that exceed his ineptitude.  Jason Cope, though never truly seen or heard, manages to bring a humanity to the Christopher Johnson role that connects the audience to his struggle, instantly making him the character most worthy of sympathy throughout.  David James hones in on all the qualities of a mercenary that turn him into almost a literal walking weapon, where results are valued infinitely more than reason or the life of those who hinder results.  Piet Smith serves as the administrative parallel to David James, with the bottom line replacing the need for results, even at the cost of trust from those he loves.  Kenneth Nkosi’s performance provides touches of the most consistent comedy, with his persistent awareness of the cameras reminding us of the ‘reality’ of the situation subtly, but effectively.

In the canon of science-fiction, alien invasion films, I hold District 9 in the highest regard.  It does everything it needs to do for the genre while simultaneously pushing the possibilities of the genre forward in terms of ideas and world integration.  The message of inclusion that lies beneath all of the flash is an important one, and one that deserves more and more attention with each passing year.

[bikinghelmetsamazon-blog]

Very Best Sunglasses For Mountain Biking: Buyer's Manual And Suggestions

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Adrian demands all riders below 15 many years of age to put on a helmet when on a bicycle. The rider of a bicycle should put on an authorized bicycle helmet securely fitted and fastened on the rider’s head, unless of course the rider is exempt from sporting a bicycle helmet below an additional law of this jurisdiction. I wore my Dainese Wave twelve D1 AIR, which I put on when riding motorcycles. Getting invested a couple of many years joyfully bicycling about Canberra, and a numerous much more many years riding sporadically and nervously in inner Sydney, I can relate to the factors offered in the survey for not riding much more frequently.

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[artsvark]

Unravelling The Mystery of Irma Vep

The Mystery of Irma Vep starring Jonathan Roxmouth and Weslee Swain Lauder.

Jonathan Roxmouth and Weslee Swain Lauder play eight quick-change characters in a decadent Victorian-style whodunnit at Montecasino from July 5.

VR Theatrical by special arrangement with Samuel French Inc present The Mystery of Irma Vep starring Jonathan Roxmouth and Weslee Swain Lauder – Pieter Toerien’s Montecasino Theatre from 5 July 2017.

Jonathan Roxmouth (Sweeney Todd, Phantom of the Opera, Joseph and the Amazing Technicolor Dreamcoat), one of the biggest names in South African theatre, stars with the inimitable Weslee Swain Lauder (Sweeney Todd, Janice Honeyman’s Peter Pan, Starlight Express) in The Mystery of Irma Vep as they have never been seen before! The acclaimed play is conceived and written by Charles Ludlum, directed by Elizma Badenhorst (Hedwig and the Angry Inch, I Love You, You’re Perfect, Now Change) with an original score by Wessel Odendaal.

The Mystery of Irma Vep starring Jonathan Roxmouth and Weslee Swain Lauder.

On a remote manor called Mandacrest, something is amiss. Between the horrors of a marauding beast terrorizing the estate and the looming presence of the recently deceased former mistress Irma Vep, matters become awkward in the extreme for Lord Edgar and his new wife, Lady Enid. In this side-splitting comedy, you’ll be taken from the moors of England to the tombs of Egypt and back again, encountering along the way a host of vampires, werewolves, mummies and all manner of things that go bump in the night.

The Mystery of Irma Vep is a satire of several theatrical, literary and film genres, including Victorian melodrama, farce, the penny dreadful, Wuthering Heights and the Alfred Hitchcock film, Rebecca. The cast of eight characters in this deliciously decadent ‘whodunnit?’ – lunatics, beasts, ghouls and gentlefolk – are played by only two actors who swop character and costumes faster than you can say ‘vampire!’. The intricate wardrobe design is by Pierre du Plessis, scenic design is by Nadine and Louis Minnaar and lighting design is by Oliver Hauser.

The production will be on the boards at Pieter Toerien’s Theatre at Montecasino from 5 to 30 July and at Theatre on The Bay in Cape Town from 2 to 19 August.

Unravelling The Mystery of Irma Vep was originally published on Artsvark

[olivierdemangeon]

  Synopsis : Des extraterrestres réfugiés sur la Terre depuis près de 30 ans deviennent un problème international explosif. Parqués dans le District 9, leur destin est entre les mains d’une multinationale, le MNU, qui s’intéresse à leur extraordinaire armement qui ne fonctionne qu’avec de l’ADN extraterrestre. Wikus, un agent de terrain du MNU, contracte un mystérieux virus qui se met à modifier son ADN. Cet homme qui permettrait de déchiffrer la technologie alien devient l’individu le plus recherché. Repoussé, isolé, sans aide ni amis, il ne lui reste qu’un seul endroit où se cacher : le District 9…

Origine du film : Nouvelle-Zélande, États-Unis, Afrique du Sud Réalisateur : Neill Blomkamp Scénaristes : Neill Blomkamp, Terri Tatchell Acteurs : Sharlto Copley, Jason Cope, David James, Vanessa Haywood, Mandla Gaduka, Kenneth Nkosi, Eugene Khumbanyiwa, Louis Minnaar, William Allen Young Musique : Clinton Shorter Genre : Science-fiction, Thriller Durée : 1h42 Date de sortie : 14 août 2009 (États-Unis) Année de production : 2009 Sociétés de production : QED International, WingNut Films Distribué par : TriStar Pictures Titre original : District 9

Notre commentaire : “District 9” est un thriller de science-fiction datant de 2009, co-écrit et réalisé par Neill Blomkamp, à qui l’on doit également “Chappie” (2015). Les acteurs principaux sont Sharlto Copley, qu’on a pu voir dans “Hardcore Henry” (2015), Jason Cope, qu’on a pu voir dans “Dredd” (2013), David James, qu’on a pu voir dans “The Salvation” (2014).

L’histoire proposée par “District 9” est adaptée de “Alive in Joburg“, un court-métrage datant de 2005, réalisé par Neil Blomkamp et produit par Sharlto Copley et Simon Hansen. Le film dépeint l’humanité, la xénophobie et la ségrégation sociale. Le titre de “District 9” est inspiré par les événements de District Six, au Cap, en Afrique du Sud, à l’époque de l’apartheid. Le film a été produit pour un budget de 30 millions de dollars et fut tourné dans l’endroit présenté dans le film, la zone de Chiawelo, à Soweto, présentant des interviews fictives, des scènes classiques et de la vidéo de caméras de surveillance dans un format de found footage. 

En date du 4 novembre 2009, “District 9” avait rapporté une recette mondiale d’un montant estimé à près de 211 millions de dollars, dont près de 116 millions de dollars au Canada et aux États-Unis.

La première chose que l’on peut dire après avoir visionné “District 9”, c’est que ce film est techniquement brillant et émotionnellement déchirant. Il y a de l’action, de l’imagination et tous les éléments d’un divertissement purement de science-fiction classique. On pourrait donc, d’ores et déjà conclure que c’est une réussite. On en ressort impressionné par l’intrigue et le contenu thématique, et qu’effectivement, si ces attributs esthétiques nous font voyager dans l’univers de la science-fiction, on peut également l’aborder comme un drame, mieux encore, comme l’examen de la manière dont un homme répond quand il est forcé de faire face à la perte de son identité lors de circonstances extraordinaires. C’est passionnant à suivre et effrontément politique. 

La performance de Sharlto Copley est tout à fait remarquable. L’acteur donne à son personnage une dimension profondément dramatique face à la tragédie qu’il traverse. Non seulement son statut social s’effondre en même temps que son physique se métamorphose, mais il se retrouve mis au banc d’une société, qui jusque-là, il servait avec un certain zèle, associé avec une certaine désinvolture, obligé par les circonstances à se cacher, puis à vivre dans l’environnement qu’il considérait avec mépris et dédain. Sa performance est d’autant plus remarquable que l’acteur ne se destinait absolument pas à une carrière d’acteur. Il s’est retrouvé propulsé dans le rôle principal suite à ce que le réalisateur, Neill Blomkamp ait fait appel à lui pour le court métrage.  

“District 9” a fait l’objet d’une édition en DVD ainsi qu’en Blu-ray, paru le 20 janvier 2010 chez Warner Home Vidéo France. Pour de plus amples renseignements, n’hésitez pas à consulter la fiche du film sur le site DVD.Fr.

En conclusion, “District 9” est un très bon film de science-fiction, nous faisant découvrir un jeune réalisateur talentueux, dont la suite, nous aura déjà confirmé son goût prononcé pour la science-fiction. L’histoire est originale et poignante. Le scénario est habilement écrit et la mise en scène est brillante. La photographie rend parfaitement l’atmosphère particulière des bidonvilles. Les aliens sont originaux aussi, ressemblant à de grosses sauterelles. La prestation de Sharlto Copley lui aura mis le pied à l’étrier pour une carrière cinématographique qui s’avère ponctuée de rôle marquant. Un film référence pour beaucoup …

  Bande-annonce :

DISTRICT 9 (2009) Synopsis : Des extraterrestres réfugiés sur la Terre depuis près de 30 ans deviennent un problème international explosif.

[artandcetera]

The River by Maaike Bakker

Shown above are works contributed by visual artist Maaike Bakker to the narrative exhibition, The River, which features a collaboration between him and fellow artist Louis Minnaar as well as the words of Jacob van der Merwe.

From the minds of two young thinkers in a purple-flowered-city This fantastic tale emerges, mysterious and gritty: A sloth, on a terrible journey, hoping to recover what he has lost; banks will be flooded, lines will be crossed.

[sofasufi-blog]

Our debut album, entitled "One", is due for release before the end of the year & this is the video of the opening track. It's one of the first songs I wrote, when Kell & I were living in an bedsit close to Hampstead Heath in London. I had a fever at the time and wrote it in a semi delirious state, which is echoed in the lyric. We hope you find it uplifting. Russ, Sofa Sufi.

[michellemarais]

Louis Minnaar, a visual artist aimed at enhancing experiences

1984 saw the city of Pretoria host the birth of multitalented artist Louis Minnaar. With a degree in visual communication and a firm belief that people can change hearts with the way in which they artistically portray, it is evident why Minnaar’s work has been honoured with 2 international film nominations (Bitfilm: FX award and Imago: Student Film), a Student Loerie- and MK Neon award, and recently a Tempo nomination in the category Best Alternative Rock Video for his Van Coke Kartel offering. With work featured in more than 40 solo and group exhibitions, TEAM GO! thought it a fine idea to acquaint itself with this imaginative visual designer in a quest to get to grips with his groove. Michelle: How would you describe your design ethos?

Louis: I think what I enjoy most about the visual world is that it has the ability to dramatically enhance an experience, be it a music video that adds to the music, or a bag of coffee that makes you feel as if you are consuming something refined and elegant. So, I try and keep in mind that a visual artist has a responsibility to enhance the world and to communicate in a way that will bring pleasure (or whichever appropriate experience) to someone.  I also try to not forget to have fun while making something. That’s the most important part of it.

Michelle: To what extend has your design philosophy evolved since the inception of Louis Minnaar Creative Visual Design?

Louis: We’ll, I don’t think my philosophy has changed.  I do find myself learning something new every day which adds to me being more effective. I do think I have grown as a visual artist at a rapid pace over the last couple of years and I have come to really enjoy what I do.

Michelle: Glancing at your online portfolio recently it became evident that a great deal of your work contains somewhat ominous subject matter. Is there any truth to this statement and if so, why do you choose abovementioned as underlining theme?

Louis: I don’t consider it ominous at all- in fact I find myself commenting on darkness rather than portraying it for the sake of shock value. I’ve always had this idea that people can change hearts with the way in which they portray something- so that is something that I always strive for. I find shock value to be over rated, lame and unsophisticated. It has become a bit of a trend to depict filth and its getting old. I like to focus on the lighter side of things that will inspire and build.

Michelle: This being said, you excel in both graphic and motion picture production. Which of aforementioned would you pick as your favourite medium and why?

Louis: If I had to pick I would probably go for motion graphics- just because it is basically 2d graphics on steroids. Motion just adds another dimension to images. The sonic element that accompanies it is also something very exciting that enhances the experience and compliments what I do.

Michelle: You have worked on projects with musicians such as Lark, Van Coke Kartel, Yesterday’s Pupil and Die Heuwels Fantasties . Does your passion (or lack thereof) for local music influence your work?

Louis: I think music in general effects what I do- just because it is such a specific language that varies from musician to musician. Each musician needs something else to accompany their work in order to compliment it. There is no generic way of making graphics for a musician- I tend to try and re-invent my approach with each project. I don’t really pay attention to the fact that it is local or not. Michelle: ‘Designer Posters’ promoting events has become a major trend. Do you consider this as natural progression in the arts and what do you deem as being the next big trend in design?

Louis: I think the boom in local music that we have experienced over the last couple of years has lead the way to a new genre of graphics that a lot of designers started to pursue.  The thing with music graphics is that it generally doesn’t pay well- so when we do it, we do it for the love of it- and that definitely shows.

I don’t know anything about or follow design trends (as far as possible).

Michelle:  How do you prevent creative stagnation and which local and international designers inspire you Louis: I try as far as possible to follow a new process with each project that I do. This opens doors to more creative possibilities and prevents stagnation. If I followed the same recipe for all my projects then I would very soon run out of ideas. Stefan Sagmeister is someone I really look up to. But I tend to not look at the name of the artist who’s picture I look at- not that I don’t care- I just forget to look- the picture is more important. Michelle: Would you be so kind as to explain to us what the design process from initial idea up to final product entail? Louis: As I said above- I try and follow a different route with each project. I can tell you that I do like large sheets of paper and a pencil as a starting point- but I don’t always start there. Michelle: What does the future hold for Louis Minnaar Creative Visual Design?

Louis: No idea. I like not planning too far ahead- that would make me extremely nervous. One day at a time does if for me.

Michelle: Which material objects would you associate with the following emotions?

Louis: bliss: An air conditioned car envy: My Scottish terrier bathing in the sun at 11o’ clock misery:  AK47 – they should all disappear. I hate them. For more on Minnaar or to view his online portfolio visit his website. *All images © Louis Minnaar

[the-satis-factory]

Louis Minnaar

A couple days ago I did a short intro to social contracts work and gave a list of their designers. I've done a little more snooping around (visited 10&5) haha! ...and came across this wonderful characters design. So here's a little about Louis Minnaar...

Minnaar’s career as a visual artist started in 2005. Since then he’s been nominated/won for international and local film/visual awards, taken part in over 40 exhibitions locally and internationally and produced music videos and graphics for bands such as Die Heuwels Fantasties, Van Coke Kartel and aKING as well as a number of local and international brands.

www.louisminnaar.com