#Marta Ivanova

[eleonoraroginska]

Selected individual set/stage design projects archive

2023

Giant Loewe sunglasses sculpture for BlinkBlink.pl x Loewe event at Elektrownia Powiśle

Mery Spolsky "Erotik Era" album cover shoot by Adam Słaboń (Kayax)

Phlov by Anna Lewandowska autumn campaigns by Tomek Janus

Stage design for Hotel Maffija, Solar&Białas, Sobel at SBM Ffestival, Warsaw

Converse All Stars Workshop 

Kmag Magazine Editorial - photos by Natalia Skotnicka

Stage design and hand sculpted masks for Sobel concert at Sun Festival Kołobrzeg

Oshee x Mata - set design for campaign directed by Alex Pak (shootme)

God Save Queens photoshoot campaign by Rogier Alexander

Youtube Awards campaign directed my Mateusz Miszczyński (shootme)

Art Faces Warsaw Zine #2 „root” issue photoshoot by Max Gronowski

Editorial for Mariola Homoncik - photos by Natalia Skotnicka

Natalia Nykiel „Bye Bye” single cover shoot photos by Krystian Lipiec (Off The Records)

Young Leosia - „Jeden dzień” music video directed by Mac Adamczak

Open’er Festival 2023 video campaign directed by Mac Adamczak

Szpaku feat. Waima - „Crazy Frog” music video directed by Jan Dybus (Widok Kolektyw)

Johnnie Walker Blonde campaign directed by Mac Adamczak (Warsaw Production)

Pepsi europe photoshoot by Kuba Bors (Analog Digital TV)

Danucera campaign directed by Tala Dołgowska (Warsaw Creatives)

Kacperczyk „Pokolenie Końca Świata” album cover by Adam Słaboń (SBM)

key visual and set design for Bizneswoman Roku 2023

Relab „Museum of Dinosaurs and Nothing Special” set design for campaign by Zulu Kuki

Waima photoshoot by Michał Mazurek

Molton SS23 campaign by Marta Sinior

Fashion Magazine cover shoot with Maffashion - photos by Dawid Klepadło

Sizeer x New Balance campaign by Karol Pojman

Editorial for Nasty Magazine, photos by Natalia Skotnicka

Żywiec campaign directed by Nathaniel Czarnecki (Spokój Film)

Shopee campaign directed by Michał Jagiełło

2022:

Białas „Głowa Rodziny” EP cover by Piotr Pytel (SBM)

Shopee christmas campaign directed by Nathaniel Czarnecki (Truskavka)

Doda „Aquaria” album cover by Klaudia Piekarska (Universal Music)

Otsochodzi feta OKI - „KFC” music video directed by @yungssebv

Warsaw Shore campaign by Dawid Klepadło (MTV)

Young Igi x Oki „Pleasure” music video directed by @yungssebv

Coca Cola x Kubota campaign by Klaudia Piekarska

White2115 - „Pretty Boy” album cover by Paweł Miśko (SBM)

Otsochodzi x Oskar83 - „Wwa Melanż” music video directed by @yungssebv

Margaret „Cry in my Gucci” music video directed by Alex Pak

Bella Fit SS22 campaign by Natasha Ivanova

Warsaw Sneaker Store campaign by Hien Dinh Ngoc

Włodi4444 x Klarna photoshoot by Paweł Miśko 

Jan Rapowanie - „Bufor” album cover by Zulu Kuki

Mrozu x Jan Rapowanie „Dym” music video directed by Magda Zielińska (Propeller Film)

Friz „Vanilla” music video directed by Filip Celen Krupa (Porobione Studio)

Julia Rocka x Kukon „Blow-Up” directed by Olaf Zażembłowski

Żołądkowa DeLuxe Campaign (Lemon Film)

Białas x Słoń „Klękaj przed Panem” music video directed by Kote & Pak

2021:

Speed Games Garage by Kuba Przygoński studio design

InPost campaign directed by Marek Sobkiewicz - Hirsch

Beata Kozidrak & Justyna Steczkowska - „Między Nami” music video directed by Olga Czyżykiewicz

Stage design for Żabson & guests concert

Sobel - „Drobna Zabawa” music video directed by Hien Dinh Ngoc

Tymek „Marilyn Monroe” music video directed by Adrian Obręczarek

Tymek „Cielo Blu” music video directed by Adrian Obręczarek

Hodak x Paluch - „C.R.E.A.M.” music video directed by Hien Dinh Ngoc

Tymek photoshoot for VOGUE Polska by Adrian Obręczarek

Garaż Acoustic studio design 

Ballantines x newonce summer campaign

[gameosity]

Game in a Minute: Furnace

Furnace, from Ivan Lashin and Arcane Wonders, features some of the most clever auction mechanics we’ve seen, which power the

https://is.gd/poExqo

[databass3]

MASTERPOST

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[heypetu]

Betway – Evolution of Instinct (DC) from Philippe Tempelman on Vimeo.

Directed by Philippe Tempelman Executive producer: Jakob Preischl, BWGTBLD Produced by Leo Leis, BWGTBLD Cinematography by Khalid Mohtaseb

Editor: Paul Hardcastle, Trim Music: Håkan Eriksson Colorist: Mikey Pehanich, Blacksmith Sound Design: Aaron Reynolds, Wave Studios VFX Supervisor: Mikael Balle

Costume Designer: Nerea Torrijos Production Design: James Hatt

1st AD: Tina Fratnik Assistant Producer: Nikita Mikitin

Service Producer: Konstantina Manolova, Solent Film Service Prod. Manager: Mitko Milushev Prod. Coordinator Tina Markovich Location manager Vladimir Blagoev, Neno Shindarski

VFX: Alexander Schepelern, Christian Sjöstedt, CPH VFX Online: Mikael Balle On Set VFX supervisor: Liviu Dinu VFX producer: Nina Strøm, CPH VFX

Sound Design Assistant: Isaac Matus, Wave Studios Voice-Over Recordist: Moritz Staub Voice-Over Mixer: Mattias Eklund, FYR

Focus Puller: Frank Gardner DIT/Operator: Ilya Akiyoshi Gaffer: Filip Penev Key Grip: Vihar Nikolov 2nd AC: Hristo Uzunov, Radoi Nikolov 2nd AD: Monika Ivanova, Vasilena Boneva Stunt Coord.: Kaloyan Vodenicharov

Art Director: Momchil Tasev Stylist BG: Ina Damianova Ass. Stylist: Maria Del Rocio, R. Ramiro, Ira Tsokova

SFX Make-Up: Leonardo Cruciano SFX MU Senior: Elisabetta Paccapelo SFX MU Junior: Giulia Giorgi SFX Assistant: Ina Kulchewsk Make-Up: Daniela Avramova

SFX Supervisor: Nikolay Fartunkov SFX Senior Tech: Nikolay Stefanov

Cast: Pierre, Zdravko, Emil, Todor, Kamen, Cveta, Lora, Miha, Stanislav, Christina, Mila, Radi, Elena, Natalie, Adaobi

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Agency: David+Martin Founder & Managing Partner: David Stephan Founder & Managing Partner: Martin Eggert Managing Partner Creative: Szymon Rose Managing Partner Creative: Daniel Schaefer Account Director: Mark Hassan Agency Producer: Christine Kastens Agency Producer: Fabian Kournettas

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Client: Betway Group Head of Marketing Germany: Maik Brodowski International Brand Media Manager: Marta Radi Assistant Brand Manager: Katharina Kaufmann

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Produced by BWGTBLD GmbH

[carlos-ritter]

Betway – Evolution of Instinct from Khalid Mohtaseb on Vimeo.

Directed by Philippe Tempelman Director of Photography: Khalid Mohtaseb Executive producer: Jakob Preischl, BWGTBLD Produced by Leo Leis, BWGTBLD

Focus Puller: Frank Gardner DIT/Operator: Ilya Akiyoshi Gaffer: Filip Penev Key Grip: Vihar Nikolov 2nd AC: Hristo Uzunov, Radoi Nikolov 2nd AD: Monika Ivanova, Vasilena Boneva Stunt Coord.: Kaloyan Vodenicharov

Editor: Paul Hardcastle, Trim Music: Håkan Eriksson Colorist: Mikey Pehanich, Blacksmith Sound Design: Aaron Reynolds, Wave Studios VFX Supervisor: Mikael Balle

Costume Designer: Nerea Torrijos Production Design: James Hatt

1st AD: Tina Fratnik Assistant Producer: Nikita Mikitin

Service Producer: Konstantina Manolova, Solent Film Service Prod. Manager: Mitko Milushev Prod. Coordinator Tina Markovich Location manager Vladimir Blagoev, Neno Shindarski

VFX: Alexander Schepelern, Christian Sjöstedt, CPH VFX Online: Mikael Balle On Set VFX supervisor: Liviu Dinu VFX producer: Nina Strøm, CPH VFX

Sound Design Assistant: Isaac Matus, Wave Studios Voice-Over Recordist: Moritz Staub Voice-Over Mixer: Mattias Eklund, FYR

Art Director: Momchil Tasev Stylist BG: Ina Damianova Ass. Stylist: Maria Del Rocio, R. Ramiro, Ira Tsokova

SFX Make-Up: Leonardo Cruciano SFX MU Senior: Elisabetta Paccapelo SFX MU Junior: Giulia Giorgi SFX Assistant: Ina Kulchewsk Make-Up: Daniela Avramova

SFX Supervisor: Nikolay Fartunkov SFX Senior Tech: Nikolay Stefanov

Cast: Pierre, Zdravko, Emil, Todor, Kamen, Cveta, Lora, Miha, Stanislav, Christina, Mila, Radi, Elena, Natalie, Adaobi

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Agency: David+Martin Founder & Managing Partner: David Stephan Founder & Managing Partner: Martin Eggert Managing Partner Creative: Szymon Rose Managing Partner Creative: Daniel Schaefer Account Director: Mark Hassan Agency Producer: Christine Kastens Agency Producer: Fabian Kournettas

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Client: Betway Group Head of Marketing Germany: Maik Brodowski International Brand Media Manager: Marta Radi Assistant Brand Manager: Katharina Kaufmann

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Produced by BWGTBLD GmbH

[anastocio]

Betway – Evolution of Instinct (DC) from Philippe Tempelman on Vimeo.

Directed by Philippe Tempelman Executive producer: Jakob Preischl, BWGTBLD Produced by Leo Leis, BWGTBLD Cinematography by Khalid Mohtaseb

Editor: Paul Hardcastle, Trim Music: Håkan Eriksson Colorist: Mikey Pehanich, Blacksmith Sound Design: Aaron Reynolds, Wave Studios VFX Supervisor: Mikael Balle

Costume Designer: Nerea Torrijos Production Design: James Hatt

1st AD: Tina Fratnik Assistant Producer: Nikita Mikitin

Service Producer: Konstantina Manolova, Solent Film Service Prod. Manager: Mitko Milushev Prod. Coordinator Tina Markovich Location manager Vladimir Blagoev, Neno Shindarski

VFX: Alexander Schepelern, Christian Sjöstedt, CPH VFX Online: Mikael Balle On Set VFX supervisor: Liviu Dinu VFX producer: Nina Strøm, CPH VFX

Sound Design Assistant: Isaac Matus, Wave Studios Voice-Over Recordist: Moritz Staub Voice-Over Mixer: Mattias Eklund, FYR

Focus Puller: Frank Gardner DIT/Operator: Ilya Akiyoshi Gaffer: Filip Penev Key Grip: Vihar Nikolov 2nd AC: Hristo Uzunov, Radoi Nikolov 2nd AD: Monika Ivanova, Vasilena Boneva Stunt Coord.: Kaloyan Vodenicharov

Art Director: Momchil Tasev Stylist BG: Ina Damianova Ass. Stylist: Maria Del Rocio, R. Ramiro, Ira Tsokova

SFX Make-Up: Leonardo Cruciano SFX MU Senior: Elisabetta Paccapelo SFX MU Junior: Giulia Giorgi SFX Assistant: Ina Kulchewsk Make-Up: Daniela Avramova

SFX Supervisor: Nikolay Fartunkov SFX Senior Tech: Nikolay Stefanov

Cast: Pierre, Zdravko, Emil, Todor, Kamen, Cveta, Lora, Miha, Stanislav, Christina, Mila, Radi, Elena, Natalie, Adaobi

-----

Agency: David+Martin Founder & Managing Partner: David Stephan Founder & Managing Partner: Martin Eggert Managing Partner Creative: Szymon Rose Managing Partner Creative: Daniel Schaefer Account Director: Mark Hassan Agency Producer: Christine Kastens Agency Producer: Fabian Kournettas

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Client: Betway Group Head of Marketing Germany: Maik Brodowski International Brand Media Manager: Marta Radi Assistant Brand Manager: Katharina Kaufmann

-----

Produced by BWGTBLD GmbH

[gebo4482]

Ряд 19 - Трейлер

Dir: Alexander Babaev Star: Svetlana Ivanova / Marta Kessler / Wolfgang Cerny

[vm4vm0]

Guilty from Andrew Arrakis on Vimeo.

The idea of this video appeared against the backdrop of a huge scandal caused by the phrase of the host Regina Todorenko about a specific case of domestic violence: what did you do so that your husband would not beat you? This caused a storm of indignation in me. The image on the poster reflects the essence of my vision of this situation: a woman as an object of violence has turned into an accused. I developed this idea and put it in a fashion setting. The video shows how any self-expression of a woman is faced with condemnation and shaming. And even when a girl strips naked, condemning words are still found. She is judged for the courage to look the way she wants, for the courage to be herself. My attitude to this is reflected in the girl's reaction: rejection of this state of affairs. Because being yourself is not the privilege of the elite. This right is given to everyone from the moment of birth. Freedom in one's beliefs, love, choice makes a person complete. Be free inside and out. Take care yourself.

director: Andrew Arrakis producer: Roman Krupin cast: Rina Samoylova cinematography: Anna Shepilova gaffer:Alexey Schikachihin grip: Victor Marin dolly: Ilya Titarenko, Ivan Abramov cameratech & focuspuller: Artyom Petrosyan make-up artist: Marta Kirienko hairstylist: Alina Kompaniec stylist: Zoya Prosekova st. assistant: Arina Ivanova edit: Andrew Arrakis colour: Alexey Lapeikin music & sfx: Ivan Merkulov

[vratargalaktikionlinefilmnezes]

~'Mafab.HD]. Vratar galaktiki "2021" (IndaVIdeo) Online Magyarul

2021}~ Vratar galaktiki teljes filmek magyarul online videa

Lásd a FILM-et:: [ ▶️▶️▶️ https://bit.ly/3bpGE3B ] Lásd a FILM-et:: [ ▶️▶️▶️ https://bit.ly/3bpGE3B ]

Vratar galaktiki ingyen letöltés, Vratar galaktiki netmozi, Vratar galaktiki, Vratar galaktiki magyar premier, Vratar galaktiki film online, Vratar galaktiki teljes film, Vratar galaktiki teljes film videa, Vratar galaktiki indavideo, Vratar galaktiki magyarul online, Vratar galaktiki teljes film magyarul indavideo, Vratar galaktiki online videa, Vratar galaktiki online filmnézés, Vratar galaktiki online teljes film,

Premier: 2020.08.27. Fantasy | Akció | Sportfilm RENDEZŐ: Dzhanik Fayziev FORGATÓKÖNYVÍRÓ: Dzhanik Fayziev, Twister Murchison, Drew Row ZENE: Tony Neiman SZEREPLŐK: Svetlana Ivanova, Mikhail Efremov, Elena Yakovleva, Evgeny Mironov, Dmitri Nazarov, Marta Timofeeva

Definition and definition of Film / film While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films. Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story. There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍ The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been. The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ formats and genres ❍❍❍ See also: List of genres § Film and television formats and genres TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required] A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required] In 2021, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2021, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV. ❍❍❍ Thanks for everything and have fun watching❍❍❍ Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film. Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings! Thank you for watching The Video Today. I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited. Scatter a happy smile so that the world returns in a variety of colors. ” Vratar galaktiki teljes film magyarul online filmek Vratar galaktiki teljes film magyarul

[fabioferreiraroc]

5 tecnologias que vão revolucionar as exposições de arte

Com a crise mundial ocasionada pelo Covid-19, as galerias precisaram se reinventar nas formas de apresentar suas obras. Pensando nisto, a Photoarts Gallery adotou tecnologias que vão mudar para sempre as experiências relacionadas às exposições de arte:

1) Simulação completa do ambiente expositivo 2) Descrições sob diferentes formatos sobre cada obra 3) Visita guiada agendada com o galerista Paulo Varella 4) Liberdade total de locomoção virtual 5) Botões inteligentes que facilitam a comunicação com a galeria

Nessa exposição coletiva, reunindo 51 artistas e 32 obras, o visitante terá uma imersão total em um ambiente projetado com tantos detalhes que dificilmente perceberia que se trata de um espaço criado digitalmente. 

As obras inseridas nesse ambiente computadorizado além de poderem ser vistas sob diferentes ângulos e detalhes, possuem descrições feitas pelos artistas em diferentes formatos: vídeos, áudios e textos. Trata-se de uma experiência que complementará as exposições físicas das galerias de agora em diante.

Essa exposição coletiva contém desde paisagens urbanas e naturais até figuras humanas, conceituais e abstratos gráficos. Todas elas podem ser explicadas e contextualizadas pelo galerista numa tour virtual interativa com o público.

Para saber sobre uma obra ou adquiri-la, existem botões inteligentes que facilitam tanto a comunicação com a galeria, quanto o acesso ao portfólio completo do artista.

Fotógrafos expostos: Adriano Gambarini, Ale Rodrigues, Alejandro Vasquez, Alexandre Militão, André Figueiredo, Andreas Kunz, Aneta Ivanova, Bete Marques, Brian Xavier, Carol Rahal, Christian Guedes, Claudia Furlani, Daniela Dragone, Dede Fedrizzi, Edu Castello, Egon Jais, Weerapong Chaipuck, Fabiane Aleixo, Helena Cooper, Janduari Simões, Laimonas Ciunys, Lucas Zimmerman, Lucille Kanzawa, Marcos Dias, Mario Barila, Marta Azevedo, Mila Mayer, Paulo Varella, Ricardo Martins, Roberto Afetian, Sandra Rauch e Wagner Silveira. 

Veja a exposição aqui

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O post 5 tecnologias que vão revolucionar as exposições de arte apareceu primeiro em arteref.

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[slicewifi]

Women in IT Awards USA: Finalists Revealed

Finalist Revealed

The finalists for the US edition of the world’s largest tech diversity event are today revealed. The winners will be announced at an awards ceremony in Gotham Hall, New York, on 22 March ‘As tech companies continue to disrupt industries and business models with new innovation, platforms that ensure the workforces behind this innovation are diverse and innovation are absolutely critical’ The world’s largest tech diversity awards event today reveals the finalists for its inaugural USA program, which will gather top leaders from America’s technology sector to further efforts to tackle the industry’s diversity challenges. The Women in IT Awards is the technology world’s most prominent and influential diversity program. Held for the last four years in London, the most recent event on 31 January 2018 was attended by 1,200 business and tech leaders. On 22 March 2018, the event will come to the US for the first time, taking place in one of the world’s most prominent business cities – New York – at the grand Gotham Hall in Manhattan. The Women in IT Awards USA marks the event’s first expansion out of Europe. With just 25% of computing jobs in the US held by women – and much fewer at senior and executive levels – the event seeks to tackle the industry’s gender imbalance by showcasing the achievements of women in technology, identifying new role models and promoting constructive dialogue around diversity among key industry leaders.

Organised by business-technology magazine and website Information Age, the Women in IT Awards has gathered resounding support from trade associations, politicians and companies of all sizes and sectors since launching in 2015. Through a series of 16 awards, the event acts as a flagship and high-profile platform for the industry’s wide-reaching diversity efforts. The awards, which attracted over 400 nominations, are sponsored by premium partner BMC Software, as well as AT&T, Bluewolf, Equinix, FireEye, Frank Recruitment Group, Neustar, Rolls-Royce and Zayo. “We were blown away with the incredible volume and standard of nominations for an event landing in the US for the first time,” says Ben Rossi, editorial director at Information Age publisher Vitesse Media and founder of the Women in IT Awards. “It’s been a privilege to watch the Women in IT Awards grow over the last four years as people from across the technology world have embraced it as the platform for identifying female role models in the industry and shining a light on their innovation and achievements. “As tech companies continue to disrupt industries and business models with new innovation, platforms like the Women in IT Awards that ensure the workforces behind this innovation are diverse and inclusive are absolutely critical. Congratulations to all of the finalists.” Advocate of the Year Kristy Wallace, Ellevate Network Anita Khandekar, Enova Bianca Jackson, JAX Digital DeLisa Alexander, Red Hat Selina Suarez, Salesforce Hala Hanna, Massachusetts Institute of Technology (MIT) Marta Zanchi, Stanford University Elizabeth Hunter, T-Mobile Carita Marrow, UNCF Ronni Eloff, Women in Technology International Business Leader of the Year Kate O’Keeffe, Cisco Lisa Stanton, InAuth Brynne Kennedy, MOVE Guides Candice Corby, Cobra Legal Solutions Nancy Harris, Sage Meredith Whalen, IDC Trish Thomas, TEEM Kristel Lataste, Amadeus North America Paula Hunter, NFC Forum Business Role Model of the Year Rebecca Parsons, ThoughtWorks Heather Wilde, WithMe Margaret Dawson, Red Hat Rebecca Wynn, Matrix Medical Network Teena Piccione, Fidelity Investments Donna Wells, Mindflash Technologies Brenda Peick, Thomson Reuters Liz Tinkham, University of Washington Priyanka Vasudevan, Morgan Stanley Nabila Aydin, FDM Group CIO of the Year Marykay Wells, Pearson Kristy Simonette, Camden Property Trust Sherry Aaholm, Cummins Paula Tolliver, Intel Corporation Kimberly Ingram, Lansing Board of Water & Light Nancy D’Amico, LeasePlan Janice Withers, TD Bank Nicole Raimundo, Town of Cary Michaele James, CSAA Insurance Group Sandi Mays, Zayo Group Data Leader of the Year Sangeeta Krishnan, Asembia Olisa Stephensbailey, Booz Allen Hamilton Valerie Logan, Gartner Kjersten Moody, State Farm Jennifer Nelson, Rocket Software Aimee Webster, S&P Global Sara Garrido, Sizmek Jessica Kirkpatrick, Slack Tendü Yoğurtçu, Syncsort Jacquelin Speck, U.S. Navy Digital Leader of the Year Jessica Wong, Amorepacific Aurora Losada, Houston Public Media Kristina Villarini, Lambda Legal Jo Ann Saitta, Omnicom Health Group Monica Caldas, GE Melissa Stevens, Fifth Third Bank Jaime Chambron, NTT Data Services Daryl Drabinsky, Aetna Teesee Murray, Infor Karen O’Brien, Western Union e-Skills Initiative of the Year Tracey Welson-Rossman, Chariot Solutions / TechGirlz Renee La Londe, iTalent Digital Marlin Williams, Sisters Code Olga Mack, ClearSlide Ruthe Farmer, CSforALL.org Judith Spitz, Women in Technology and Entrepreneurship in New York (WiTNY) Viola Maxwell-Thompson, Information Technology Senior Management Forum Women on their Way, NetScout Elizabeth Lindsey, Byte Back Diane Flynn, ReBoot Accel Editor’s Choice Rina Brahmbhatt, Atos Global Consulting Mylea Charvat, Savonix Lauren Cooney, Spark Labs Rita Torkzadeh, The Pew Charitable Trusts Christina Zuniga, InTouch Health Winnie Cheng, Io-Tahoe Jane Harper, Henry Ford Health System Shelley Westman, EY Liz Rowe, State of New Jersey Marlene Williamson, Watermark Entrepreneur of the Year Zhuo Li, AutoX Neha Sampat, Built.io Contentstack Autumn Manning, YouEarnedIt Jennifer Kyriakakis, MATRIXX Software Angela Hood, ThisWay Global Lora Ivanova, myLab Box Srii Srinivasan, Chargeback Gurus Mary Dee, Digital Altitude Meg Columbia, Walsh Wylei Rachel Bogan, Work & Co Future CIO of the Year Julia Lomax, Tengelmann Group Priya Aswani, Microsoft Jamila Parham, City of Chicago Eryka Johnson, ExxonMobil Amber Williamson, Robert Half Technology Anne Mette Hoyer, SAP Andrea Adams, Spanning Cloud Apps Tracy Vo, Bank of the West Leslie Hielema, GuideWell Praniti Lakhwara, Apttus Innovator of the Year Jin Zhang, CA Technologies Angela Nicoara, Intel Corporation Vicki Reyzelman, Akamai Rachelle Oribio, Techstars Jo-Anne Dressendofer, Slice Wireless Solutions Kristin Lovejoy, BluVector Natalie Gil, rational7 Veena Gundavelli, Emagia Corporation Bhavini Soneji, Heal Sophie Vandebroek, IBM Rising Star of the Year Velvet Johnson, Accenture Etosha Ottey, Chicago Black Women In Tech Jamie Migdal, FetchFind Robyn Gray, Otherworld Interactive Jennifer Perusini, Neurovation Labs Yana Zaidiner, Token Payments Margaret Gratian, US Department of Defense Lana Jovanovic, UBM Annie Eaton, Futurus Sarah Mogin, Work & Co Security Champion of the Year Rhonda Shantz, Centrify Christy Wyatt, Dtex Systems Linda Conrad, Exelon Deneen DeFiore, GE Lila Kee, GlobalSign Monica Jain, LogicHub Julie Cullivan, ForeScout Technologies Sydney Klein, Capital One Financial Deb Briggs, NetScout Terri Cetera, Quest Diagnostics Transformation Leader of the Year Alejandra Roslyakova, Amadeus North America Lisa Litherland, CDW Ozlem Coskun, Chubb Insurance Sandy Hogan, HERE Technologies Kelly Switt, Citi Barbara Morgan, FIS Carol Houle, Cognizant Chiara Bersano, LSI Consulting Erica Volini, Deloitte Kerry Small, Vodafone Group Enterprise Woman of the Year Kesha Williams, Chick-fil-A Ishita Majumdar, eBay Li Lo, SPANX Dianne Dain, United Nations Mayumi Hiramatsu, Infor Laila Beane, Intellect SEEC Anita Sands, Symantec Karen MacKay, Rolls-Royce Sheela Ramamurthy, VirtualHealth Jeanette Maister, WCN Young Leader of the Year Hannah Osborne, DXC Technology Miranda LeBlanc, Liberty Mutual Insurance Karen Parisi, Oodi Caitlin Burniske, Premier Logic Jessica Angelotta, Target Data Arlyn Burgess, University of Virginia Ali Greenwood, JLL Camille Stewart, Deloitte Ayesha Liaqat, UW Health Lisa Godwin, The New York Times See Original Post Here: information-age.com/women-awards Read the full article

[elcorreografico]

En el marco de la 40º edición de la Fiesta Provincial del Inmigrante, se realizó uno de los momentos que guarda gran emotividad del máximo evento berissense, como es la entrega de diplomas a inmigrantes y descendientes de personas que arribaron a nuestra ciudad como parte de las diferentes colonias extranjeras.

Durante el acto, que tuvo lugar en la sede de la Unión Polaca, cada una de las personas reconocidas compartió con los presentes parte de su historia, un fragmento de su vida, recreando su llegada a la ciudad, recordando lugares, momentos, vivencias compartidas.

La jornada contó con la presencia del intendente Jorge Nedela junto a su esposa Mónica Dias Leal; la presidenta de la Asociación de Entidades Extranjeras Gabriela Ruszczyk y el secretario de Gobierno, José Mendez.

También, participaron el coordinador de Colectividades, Juan Ignacio Fourment Kalvelis; la coordinadora de Políticas Migratorias Ángela Herrera; junto a otras autoridades municipales; integrantes de la AEE, y la actual Reina Provincial del Inmigrante, Aldana Santillán Armoha y las princesas Giuliana Martins Balducci y Ludmila Wac Galuk.

Los inmigrantes reconocidos

En esta oportunidad y correspondiendo a la 40° edición de la Fiesta Provincial del Inmigrante, se cumplió con la entrega de diplomas que destacan el pasado de aquellos que llegaron desde otros países a poblar estas tierras. En varios de los casos, los reconocimientos fueron recibidos por descendientes directos de los inmigrantes que fueron destacados en esta oportunidad.

Los nombres correspondieron en este caso a: Armenia: Miriam Melkonian; Belarús y Rusia: Andrés Siewastial, Gregorio Bierzoko, Ignacio Andreenko y Jacobo Galuk; Gulgaria: Rosa Ivanova Neicova de Petcoff, Juan Petcoff, Neica Staneva Laleva de Dimitroff y Nicola Georgieff Todoroff; Cabo Verde: Marcelino Silva Santos; Colombia: Milena Hernández y Alfredo Maldonado; España: Rogelio, Antonia y Eduardo Fernández Fernández; Eslovaquia: Kubanda Tomas; Grecia: Georgantas Christos; Israel: Schendl Machluk; Polonia: Antoni Moszynski, Stanislaw Wojtaszyk, Fernando Malec, Mieczyslaw Orlowski y Estefanía Ana Baj Broday; Italia: Cipollone Giovanna, Pipola José y Angeloni María Teresa; Perú: Bertha Emilia Murillo Caceda; Ucrania: Eugenio Hewko y Gregorio Kisil y Uruguay: Marta Silva, Washington Macedo Cuadra y Rosa Danta.

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#Berisso: Diplomas a Inmigrantes en la 40º #FiestaProvincialdelInmigrante En el marco de la 40º edición de la Fiesta Provincial del Inmigrante, se realizó uno de los momentos que guarda gran emotividad del máximo evento berissense, como es la entrega de diplomas a inmigrantes y descendientes de personas que arribaron a nuestra ciudad como parte de las diferentes colonias extranjeras.

[bistraction]

Bistra & Joachim ont participés au Process Space Festival pour l’art contemporain à Rousse en Bulgarie.

Avec des artistes:

Ben Coiacetto (United Kingdom / Australia), Bistra Lechevalier & Joachim Gliem (France), Crisia Miroiu (Romania), Didier Mahieu (Belgium), Eeva-Liisa Puhakka (Finland / Germany), Emma Wood (United Kingdom), Herman Lamers & Yvo van der Vat (The Netherlands), Ivona Ivanova (Bulgaria), Kim Dotty Hachmann (Germany), Magnús Logi Kristinsson (Iceland / Finland), Marcos Vidal (Spain), Marta Wlusek (Poland / United Kingdom), Mikio Saito (Japan), Müge Yıldız (Turkey / United Kingdom), Mustafa Boga (Turkey), Nela Hasanbegović & Daniel Premec (Bosnia and Herzegovina), Neno Belchev (Bulgaria), Rowen Foster (USA), Wendimagegn Belete (Ethiopia / Norway).

Bistra Lechevalier; They are waiting for Snow White

Freedom for Snow White

Bistra travail au soleil à Rousse 2017

Opening party, work of Neno Belchev

The artistes of Process Space Art Festival 2017

Pour plus d’info sur le festival visitez des liens

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process space art festival

  Process Space Art Festival 26 Bistra & Joachim ont participés au Process Space Festival pour l'art contemporain à Rousse en Bulgarie.

[nofomoartworld]

Hyperallergic: Cultural Diplomacy and Artwashing at Documenta in Athens

Thierry Geoffrey, “Is Documenta the botox of late capitalism?” (2017), (image courtesy of the artist)

ATHENS — The auspicious arrival of Documenta 14 in Greece earlier this year has so far met considerable controversy in a country still coming to terms with the 2008 financial crisis, social unrest, and the ongoing issue of refugees entering the country’s porous southern Mediterranean border. Athens stood out as a curious choice for Documenta right from the start, immediately spurring speculative criticism since the announcement nearly five years ago that it was to be split between its usual host city in Kassel and the Greek capital. Entitled Learning from Athens — a concept developed by artistic director, Adam Szymczyk, with a team of six other curators — the exhibition features the work of over 160 artists, set over 100 days, spread across nearly 40 venues, including most notably the National Museum of Contemporary Art (EMST), the Athens Conservatoire (Odeion), the Benaki Museum and the Athens School of Fine-Arts.

Issa Touma “Nine Days — From My Window in Aleppo” (2012) (film still), Artists at Risk pavilion (photo by Sol Prado)

After a controversial 2010 bailout package brought relations between Germany and Greece to a new low, organizers had said they hoped the festival would help mend relations between the two countries. However, the undertaking has largely failed to appeal to locals, and in the process has even alienated some. According to Yanis Varoufakis, the enigmatic former Greek finance minister who stepped down after pressure from European leaders forced Greece to accept harsh austerity measures in exchange for an international bailout package in 2015, Documenta’s arrival was nothing more than “crisis tourism.” During a talk held at the 6th Moscow Biennale he suggested that Documenta’s placement in the Mediterranean country was both a political and cultural gimmick, unpropitious and a blight on the Greek people:

I have to say that I am not very happy about the idea that part of Documenta will take place in Athens — it is like crisis tourism. It’s a gimmick by which to exploit the tragedy in Greece in order to massage the consciences of some people from Documenta. It’s like rich Americans taking a tour in a poor African country, doing a safari, going on a humanitarian tourism crusade. I find it unhelpful both artistically and politically.

Issa Touma, “After United” (2017) series, Artists at Risk pavilion (photo by Sol Prado)

During the opening press conference held on April 6, Szymczyk nevertheless stated that organizers had a political responsibility, “there is a large untapped potential when visitors come together for an exhibition — a political potential,” he stated.

However, Documenta’s integrity at the local level began to seriously unravel after alienating the Athens Biennale, despite sharing an office building with the team. When it was first announced that Documenta 14 was to take place in Athens, there were several joint press conferences and public appearances held with the Athens Biennale team. Initially, the Athens Biennale was supposed to be one of the main collaborators and partners, but later this relationship soured as the oleaginous Documenta staff began to poach some of the Athens Biennale workers. Besides this, there were murmurings of Documenta using neoliberal practices such as employing their own invigilators as art laborers. What’s more, after two weeks on the job, these invigilators hired for Documenta 14 were informed that their wages would be decreased from a promised €9/hour to €5.62/hour, in a move described by the administration as a “misunderstanding.” In response to these and other issues, an Athenian group of anthropologists organized by Eleana Yalouri, an assistant professor in the Department of Social Anthropology at Panteion University, and Elpida Rikou, an instructor at the Athens School of Fine Arts and TWIXTlab developed a parody research group called “Learning from Documenta.”

Artur Żmijewski “Glimpse” (2016–17) digital video transferred from 16 mm film, black-and-white, no sound, approx. 20 minutes (photo courtesy of Documenta 14)

However, since the crisis, Greece’s 270 public museums have seen their budgets considerably slashed, and austerity has noticeably pinched Greece’s other areas of the cultural sector where funds remain scarce. One of the main positives of Documenta’s arrival in Athens is that the organization brought with it cold hard cash that was invested in local cultural infrastructure, and to Documenta’s credit, they decided to work with cash-strapped public museums, rather than private entities. For example, Documenta restored an EMS Synthi 100, a rare analog synthesizer manufactured in 1971, which had been in disrepair for over twenty years and is now situated at the Megaron. There was significant cash made available through Documenta’s presence: the €37 million budget allocated for Documenta 14 was split evenly between Kassel and Athens. Apart from the free rent of public venues in Athens, no funding came from the Greek state or the city of Athens itself. In addition, Documenta brought with it a wealth of experience and an international team including Bonaventure Soh Bejeng Ndikung, founder of Berlin’s influential Savvy Gallery, an expert with considerable experience exploring how intersections of colonialism, power, and representation function within art.

In one of Documenta’s strongest stand-alone works, Ross Birrell’s “The Athens-Kassel Ride” (2017), a mobile performance project takes place over the 100 days of the exhibition, during which two equestrian riders invited by the artist will travel the distance from Athens to Kassel on horseback, mapping what Birrell has called a “vagabond trail” through Greece, the former Yugoslav Republic of Macedonia, Serbia, Croatia, Slovenia, Austria, and Germany. The project takes as a point of departure the idea of the mythical Greek god Hermes, the god of commerce, theft, music, and border crossings. Tracing the relational and metaphorical connections between the Balkans and Western Europe, Schengen and non-Schengen countries, the project also mirrors the migrational passage of many asylum seekers who make their way westward to Europe’s more prosperous countries, like Germany.

Marta Minujin “Untitled Performance” (2017) (© Mathias Voelzke)

Another performance that gained considerable attention was Marta Minujín’s “Payment of Greek debt to Germany with olives and art” (2017). In it, Minujín, dressed up like Angela Merkel on the opening day of Documenta in Athens, serving olives to passersby while reciting a speech entitled “Angela” in which she agreed to write off Greece’s debt in exchange for the olives. While the performance bordered on being flippant, it appeared to me intended to awaken political consciousness within the sanctified space of the museum, though in a way that appeared naive and flat.

Alexandra Pirici, performance of “Parthenon Marbles” (2017) (image courtesy of Alexandra Masmanidi)

Performance was on full display both inside the official Documenta program and outside it. In a parallel project organized by Future Climates entitled the “Parthenon Marbles” (2017), artist Alexandra Pirici and writer Victoria Ivanova examine the controversial request for the repatriation of marbles taken by Lord Elgin from the Acropolis in Athens to the British Museum in 1801. The work takes the form of a choreographed ensemble presenting an immaterial speculative dance performance and journey into a “what if” scenario if the marbles were repatriated to Greece. Yet it was unclear what the project’s intended aims were — other than perhaps commenting on the role played by cultural imperialism in exhibitions like Documenta.

Pathway leading to Artists at Risk pavilion outside Omonia Square (photo by Sol Prado)

Artist Thierry Geoffroy, aka the Biennalist, trolled organizers at the opening press conference, wearing his signature blue United Nations Peacekeepers helmet, asking to what extent, if any, organizers had exercised self-critique. Archived under the hashtag #Documentasceptic, Geoffroy’s Instagram exploded during the opening press conference with the artist posting amusing images including one that asked “is Documenta the botox of capitalism?” At a book launch by artist and comedian Olav Westphalen, co-editor of Dysfunctional Comedy (2016), the artist discussed how biennals have been used to artwash crises. Often interspersing witty criticism with analysis of the culture industry, Westphalen is perhaps best known for his comic “Untitled” (1999), which depicts a smoldering town, while in the foreground an individual being interviewed on TV suggests “what our village needs now is a biennale!” Such humor was not lost in the context of being in Athens under the specter of Documenta.

In the main exhibition at the Athens School of Fine Arts, a work by Polish dissident artist Artur Żmijewski proved to be one of the exhibition’s most controversial. Entitled “Glimpse” (2017), it’s an unabashedly grim, silent video depicting refugees on location in two camps: one in Calais, also known as the “Jungle,” (which was closed and demolished by French authorities in 2016); the other in Templehof, Berlin, which is Germany’s largest refugee camp, housing about 1,300 individuals. The work speaks to the plights of migrants and the sordid conditions in which they live, but does so in a way that borders on victim porn, shot in a style that reminded me of Werner Herzog. A young girl smiles into the camera, seemingly unaware of the conditions of the shacks around her while her father looks on grimacingly. Żmijewski gives one of the migrants a pair of worn shoes; he paints the face of another. Oscillating between trembling close-ups and medium range shots, the film feels shockingly disconcerting. It is both Documenta’s most powerful, visceral work, as well as its most disturbing.

Pinar Öğrenci, “A Gentle Breeze Passed Over Us” (2016) film still (photo by Sol Prado)

Also referencing the refugee situation is Rebecca Belmore’s large marble tent installed on Filopappou Hill, overlooking the Acropolis. With it, the artist designed a place for speculation on displacement. One can literally sit in the tent, which is otherwise a common item used by refugees for shelter. However, this one is cast in marble and placed at the highest point in the city, a primary area frequented by tourists. The tent felt like a crypt, and rather than actually evoking the experience of refugees, I saw it as a wasteful object that sought to consecrate the refugee crisis with an expensive monument.

In Athens, others projects set up shop outside Documenta’s official program, like the Artists at Risk initiative, organized by Marita Muukkonen and Ivor Stodolsky. Artists at Risk is founded on a simple, yet important principle: to provide safe haven and passage to artists facing acute political threat, to support their work through long term research projects, exhibitions, workshops, lectures, grants, studio space, technical support, and visa applications. In Athens, Artists at Risk set up a pavilion just outside Omonia Square, a stone’s throw from one of Athen’s oldest fish markets. The pavilion features a series of films and photographs by Issa Touma Pinar Öğrenci, and Erkan Özgen. Though outside the official program, it offers Athen’s most politically salient works under one roof. Touma’s film (which last year won the European Film Award for Best Short Film), “9 Days — From My Window in Aleppo” (2012), depicts in shockingly realistic terms how the battle for Aleppo played out from the perspective of his apartment window. It traces the shifting alliances of a group of college-age men as they take up different sides in the Syrian conflict, sides that correspond to shifting dominant powers. The rupturing alliances depicted in Touma’s film hints not only at the brutality of war, but also the mutable state of affairs in a civil war that has claimed millions of lives and displaced several million more. In Öğrenci’s film, a sententious shot of an oud floating in water stands in for the importance of the instrument for a group of Iraqi refugees the artist met while on residency in Vienna. In Özgen’s film, on the other hand, the artist depicts the heart wrenching story of a 13-year-old deaf Syrian boy who recounts the horror, violence, and tragedy that struck his family while living in Kobanî, a small Syrian village. Rather than using voice or language, the young boy testifies to the horrors of war with gestures and body language, performing for Özgen’s lens the necropolitics of the mass violence he has witnessed.

Rebecca Belmore “Biinjiya’iing Onji (From inside)” (2017) installation on Filopappou Hill (© Fanis Vlastaras)

In May, nearly a month after Documenta touched down in Athens, a new round of tax and pension cuts were imposed on Greece by its EU-IMF creditors — principal among them, Germany. Percolating not so far beneath Documenta’s surface were these realities. Though Documenta features a number of strong individual works, as well as investments made in local cultural spaces, and interesting parallel projects, it also includes the standard interlopers of art tourists and poseurs who touch down amidst the city’s crumbling social and economic infrastructure. Consequently, it remains to be seen whether Learning from Athens manages to responsibly employ cultural diplomacy, or simply artwashes crisis for the acquisition of cultural and curatorial capital. Above all, these two competing narratives dominate Documenta’s Athens experiment.

The Athenian portion of Documenta 14 is on view at locations throughout the city through July 16. The Kassel portion of Documenta 14 will open on June 10 at various locations and run through September 17.

The post Cultural Diplomacy and Artwashing at Documenta in Athens appeared first on Hyperallergic.

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[theleoisallinthemind]

Marta Ivanova, Loss of Power, 2012.