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27timescinema · 3 months ago

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PANEL – MIU MIU 2024 #1

By Chris Zahariev (BG), pics © Gregor Valentovic (SK)

This week, fashion and cinema merged again on the Lido as excited lovers of the two art forms experienced the premieres of the newest “Miu Miu Women's Tales” films during the Venice International Film Festival.

Over the past 14 years, 28 films have been directed by women filmmakers, with the latest shorts I Am The Beauty Of Your Beauty, I Am The Fear Of Your Fear, directed by Chui Mui Tan and El Affaire Miu Miu, directed by Laura Citarella. This initiative offers a unique platform for exploring femininity through cinema, pushing boundaries and challenging women's traditional roles in the industry.

The directors of the newest episodes sat down for a special in-depth panel, sharing the story of how & why they made their “Miu Miu Women’s Tales”.

Both Citarella & Mui Tan shared that they were given a singular task: to create a short film about femininity using the latest fashion Miu Miu collection.

“When I received the email invitation, I was surprised, because I was not involved in the fashion world. However, I knew the project had little to do with fashion and more with the encounter between the worlds of cinema and fashion through our feminine view”, started Citarella.

Mui Tan continued by saying that she was inspired by the younger generation of women in China and their evolving understanding of femininity. “I began questioning what being a woman means to me, influenced by my upbringing and the generational gap in China”, she explained.

This filmmaker chose to explore femininity through the lens of martial arts, a departure from traditional genres. “This is my first martial arts film, continuing from my previous artistic pursuits”, she said, adding that the film allowed her to design a fight and storyline that embodied both strength and beauty—something that she believes every woman carries within her.

It’s no secret that Miu Miu Women’s Tales intentionally focuses on giving a platform to a diverse range of acclaimed women directors from all kinds of backgrounds and cultures. On being asked about diversity, Citarella emphasized: “Women are diverse. We’re trying to build on this concept, showing that we’re not the same”. This diversity is reflected not only in the stories told, but also in the portrayal of women in the films, challenging the stereotypical narratives often found in cinema.

However, the director also noted the challenges posed by critics who often oversimplify these films by labelling them as works about femininity. She mentioned: “Sometimes critics don’t understand. They might say, 'Oh, this is a film about femininity,' which can lead to other women filmmakers making films that just check those boxes because they feel like this should be the way”.

Both directors also discussed the challenges faced by independent filmmakers, particularly in regions where government support for the arts is inconsistent. The Argentinian director pointed out that “the government stopped supporting the arts, putting the entire industry in crisis”. This has led to a reliance on platforms and small-budget films, with filmmakers taking on multiple roles to ensure their projects come to life.

Despite these challenges, the filmmakers remain committed to their craft, constantly learning and evolving. As the Malaysian director & producer Chui Mui Tan noted: “I’m fortunate to be a filmmaker, constantly learning and travelling for work. And my next film will continue on this martial arts topic, focusing on jiu-jitsu, and I hope Laura will help me explore South America”.

The Miu Miu Women’s Tales films showcase the diversity, creativity, and resilience of women filmmakers worldwide. Through their unique perspectives, they continue to challenge the status quo, redefining what it means to be a woman in the film industry. The project not only celebrates femininity but also highlights the collaborative spirit that drives these filmmakers to create compelling and innovative cinema.

#venezia81 #panels #miu miu

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hritipuri9 · 6 months ago

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Altina Schinasi: The Pioneering Spirit Behind Cat-Eye Glasses

Altina Schinasi was an extraordinary American artist, inventor, and designer whose innovative spirit left an indelible mark on the world of fashion, particularly in eyeglass design. Born in 1907 in Manhattan, New York, to immigrant parents, Schinasi's creative journey was nothing short of remarkable. This article delves into the life and legacy of Altina Schinasi, exploring her groundbreaking contributions to art, design, and film.

Early Life and Education

Altina Schinasi was born into a family of immigrants in Manhattan, New York, in 1907. Her early exposure to the cultural melting pot of New York City, coupled with her parents' appreciation for art, fostered her innate creativity. After completing high school, Schinasi traveled to Paris, where she fell deeply in love with art while studying drawing. Her artistic talents blossomed, setting the stage for a lifetime of creative exploration.

Upon returning to the United States, Schinasi continued her artistic education at The Art Students League in New York. Here, she honed her skills and developed a keen eye for design. However, her artistic path took an unexpected turn when she began working as a window dresser for several high-end stores on Fifth Avenue.

The Birth of Cat-Eye Glasses

While working as a window display artist, Schinasi noticed a significant gap in the market for stylish women's eyeglasses. The options available at the time were lackluster and unappealing. Inspired by the sharp edges of harlequin masks she had seen at the Carnevale event in Venice, Italy, Schinasi envisioned a new design that would enhance a woman's facial features. Thus, the iconic "cat-eye" or "Harlequin" eyeglass frame was born.

Despite initial rejections from major manufacturers who deemed her design too risky, Schinasi's unwavering determination paid off. A small store recognized the potential of her innovative frames, and soon, women across the United States were clamoring for Harlequin glasses. In 1939, Schinasi's unique design earned her the prestigious Lord & Taylor American Design Award, catapulting her into the limelight and solidifying her reputation as a trailblazer in the fashion world.

Personal Life and Influences

Altina Schinasi's personal life was as dynamic as her professional career. She married Celestino Miranda in 1981 and had two children, Terry Sanders and Denis Sanders, from a previous marriage. Her professional journey included significant collaborations with renowned artists like Salvador Dalí and George Grosz. Working with these creative giants further fueled her passion for pushing artistic boundaries.

Schinasi's admiration for George Grosz, a German artist known for his satirical drawings, was particularly influential. Her collaboration with Grosz on the documentary "George Grosz's Interregnum," which highlighted his anti-Nazi work, was a testament to her commitment to using art as a medium for social change. The documentary won accolades at the Venice Film Festival and was nominated for an Academy Award.

Artistic Contributions Beyond Eyeglasses

Altina Schinasi's creative genius extended far beyond eyeglass design. In the 1970s, she drew inspiration from a photograph by Henri Cartier-Bresson, which depicted empty chairs, to create her innovative "characters"—a series of chairs and benches that blended form and function. These pieces were sculpted from clay and Styrofoam, then cast in fiberglass, showcasing her ability to merge art and practicality seamlessly.

Schinasi's "characters" were more than just functional furniture; they were artistic statements. Her ability to transform everyday objects into pieces of art highlighted her unique approach to design and her relentless pursuit of innovation.

Impact on Film and Art

Schinasi's creative pursuits were not confined to fashion and furniture design. She ventured into film production, creating the acclaimed documentary "George Grosz's Interregnum." This work not only showcased her mentor's artistic contributions but also emphasized the power of art in addressing social and political issues.

Additionally, Schinasi's passion for art therapy led her to volunteer at Synanon, a mental health center. Here, she used her artistic talents to help individuals through creative expression, further demonstrating her belief in the transformative power of art.

Recognition and Legacy

Throughout her life, Altina Schinasi received numerous accolades for her contributions to art and design. Her cat-eye glasses became a cultural phenomenon, gracing the covers of major magazines like Vogue and Life, and her innovative approach to design earned her widespread recognition.

The Los Angeles County Museum of Art (LACMA) honored Schinasi's work by selecting one of her early extensive works for a juried show. This recognition underscored her influence on contemporary art and design.

Conclusion

Altina Schinasi's legacy is a testament to her boundless creativity, unwavering determination, and innovative spirit. Her contributions to fashion, art, and film continue to inspire and influence new generations of artists and designers. From her iconic cat-eye glasses to her groundbreaking work in documentary filmmaking, Schinasi's ability to push boundaries and challenge conventions has left an indelible mark on the world.

#Altina Schinasi #Altina Schinasi bio

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ramtracking · 7 months ago

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How Street Style Does Tennis Fashion [ Tennis ]

How Street Style Does Tennis Fashion [Highlights] Luca Guadagnino’s long-awaited Challengers is premiering this weekend—just in time for tennis and pickleball season. If you don’t know the… On camera or off, Zendaya stays in character. From her wet-look Balmain gown at the 2021 Venice Film Festival to her recent jaw-dropping… Trust the undisputed queen of the red carpet, Zendaya, and her…

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mrchalamet-mrstyles · 2 years ago

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Haider posted a French article from Le Nouvel Obs about T's outfit and is says "This could displease, pass for a provocation, and also be understood as a plea for gender fluid when it was not their intention at the time". I found the beginning of the article, the rest is under a paywall but they say it was made especially for T and it was meant to highlight the movie's message

Yes, I went ahead and paid for a subscription. It's a lovely piece and I love learning how that outfit came to be. It was especially designed for Tim and wasn't part of Haider's collection. Amazing.

Here's the translated article:

A blood red jumpsuit and a bare back! At the Venice Film Festival, the outfit of Franco-American actor Timothée Chalamet, created by Haider Ackermann, did not go unnoticed. Sophie Fontanel reveals the underside of their collaboration and explains this choice.

Venice Film Festival. Premiere of Luca Guadagnino's film, "Bones and All", Timothée Chalamet walks the red carpet, wearing a blood red jumpsuit, bare back. Even in our era which wants to be free, no man (or almost) has ever dressed like this on a red carpet . Obviously the images make the buzz, intermingling the rave reviews and those, let's say, more contrasted.

The outfit is by designer Haider Ackermann. A quick check seems to indicate that it does not exist in Haider's collections. Haider, contacted by telephone, confirms to me that it was done on purpose for the actor, on purpose to be worn on a red carpet , and even on purpose to “carry” the subject of the film. Clothing as a spokesperson this column always starts from this postulate, well here is a brilliant illustration.

Haider Ackermann regularly dresses the actor. Contrary to what one might think, the looks of the young man (he's 26!) are not delegated to a personal stylist . He belongs to a generation for whom fashion is not a separate world. He is in clothes like a fish in water.

When he and Haider spoke, they began by discussing the film, which romantically addresses the issue of cannibalism. Haider went red, because of the blood. He also thought that once on the red carpet at La Mostra, if Timothée was in red, then he would blend into that unique color and only his face would be seen.

Alright, he said. Then Haider wondered what other piece of the young actor's skin we could show. Arms ? The arms, yes. Then he continued to think. Arms, isn't that a bit of “déjà-vu” ? Legs ? Same. It was then that he thought of the back. He offered two versions of this look: option 1 with a covered back, and option 2, bare back. He said: “We will choose at the last moment. »

Fifteen days before La Mostra, there were the fittings. When Timothée saw himself in the backless jumpsuit, he began to pace the room, jubilantly investing in option 1. Haider watched him stroll, with this V-shaped torso whose outfit accentuated the beauty and the Powerful.

The thousands of tiny sequins making up the garment shimmered on the young man who was swaying his hips, enthusiastic, comfortable in his own skin. Of course yes, they wondered, even if they knew that their decision was made, whether or not to go through with it. This could displease, pass for a provocation, and also be understood as a plea for gender fluid when it was not their intention at the time. Of course, they anticipated the noise it was going to make. But they said to themselves that before all that – Timothée's clothes and ease – would “transport” people. Lift them to move them forward one space.

#timothée chalamet #haider ackermann #outfit of a lifetime #l'obs

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seoul-bros · 2 years ago

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BTS and Fashioning Masculinities

If you are in London and are interested in fashion then make sure you catch the Fashioning Masculinities exhibition at the V&A before it closes on the 8th November.

The exhibition has been put on in partnership with Gucci and begins with an excerpt from Creative Director, Alessandro Michele's statement for the Fall/Winter 2020 Collection which affirms the need to free men from toxic stereotypes so that they can freely and fully express all sides of themselves.

The exhibition looks at how men's fashion has evolved over the centuries and demonstrates the increasing space for gender non-conformity in the clothes that we wear. Here are some of the highlights of the show.

The tailored suit and cape by Randi Rahm which Billy Porter wore to the 2019 Golden Globes.

This blue velvet suit worn by Harry Styles.

The black suit by Haider Ackermann worn by Timothee Chalamet at the Venice Film Festival in 2021.

One of the most fascinating parts of the exhibition was the section on make-up. Once the acceptance of make-up for men was limited to the stage and performance. In the 1975 documentary Cracked Actor, David Bowie talks about how he wants to portray his songs. The make-up he puts on (starting at 2.58 mins) helps him become Ziggy Stardust, Aladdin Sane, Major Tom etc.

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We see something similar with BTS today. As they put on their make-up their stage personas slowly begin to emerge.

But make-up is also becoming an increasingly accepted part of male grooming as this video from Channel demonstrates.

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And perhaps BTS has gone some way to mainstreaming the idea of skin care and make-up being part of daily grooming by so often being shown undertaking their own beauty routines.

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Finally, Jungkook once said "Great style is wearing anything you like regardless of gender". Here are some instances of gender non-conformity in BTS photo shoots.

Jimin's look for the Butter Jacket Shoot.

RM with lace gloves

Jimin and Jungkook in the Black Swan MV

J-Hope for Singles Magazine

Jimin for Vogue Magazine 2021

Suga, GQ magazine, 2021

Post Date: 02/10/2022

#Fashioning Masculinity #V&A #BTS #breaking gender norms #RM #jin #suga #j-hope #jimin #park jimin #V #jungkook #david bowie #chanel #gucci

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lou-hayter · 4 years ago

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Lou Hayter is a London-based musician, DJ and musical director. She has been a recognisable face on the London music scene since the mid-noughties, when she rose to prominence as part of the Mercury-nominated electro-pop band, New Young Pony Club. Since then, she has maintained a presence at the always-evolving intersection between music and fashion, building a reputation as a DJ as comfortable at peak-time in the basement of XOYO as at the launches of some of the world’s most desirable brands (Chanel, Miu Miu, Chloe and Paul Smith all have Hayter on their books). Since departing NYPC at the beginning of the decade, Hayter’s musical endeavours have rarely slowed down. As well as a three year stint as Musical Director for the British Fashion Awards, she has formed band partnerships with JB Dunckel of the seminal French band Air as Tomorrow's World, and Nick Phillips as The New Sins, while continuing her all-vinyl residency at London’s Chiltern Firehouse. Having signed to Skint / BMG records last year in anticipation of her debut solo LP in 2021, Hayter has been dripping singles like honey across the past few years, earning radio play on 6 Music and Radio 1 and 2 alike. A third single, ‘Private Sunshine’, has just emerged mid-winter, following ‘My Baby Just Cares For Me’ and ‘Cherry On Top’, blissful earworms of glorious off-kilter pop music, timeless but forward-thinking at once. "The style world's favourite DJ" - EVENING STANDARD "A multi-talented musician, model and DJ extraordinaire" - DAZED DIGITAL “She may be a reluctant (Jane) Birkin, but in Tomorrow’s World, Lou Hayter burns bright” - WONDERLAND Recent DJ Highlights Chanel No 5 Red London launch, UK Premier of Pedro Alomodovar's "Pain and Glory" at Somerset House, Netflix party for 'Roma' at the 2019 BAFTA awards, Noel Gallagher's 50th birthday party, Damian Hirst "Treasure of the Wreck of the Unbelievable" opening in Venice, Kylie Minogue's 50th at Chiltern Firehouse. Christian Louboutin's Loubi Express at Claridges, London. Client List Fashion - Alexander McQueen, Adidas, Alexa Chung for AG Jeans, Belstaff, Bella Freud, The British Fashion Awards, Chanel, Chloe, Charlotte Olympia, Chopard, Christian Louboutin, Cos, Hussein Chalayan, H&M, Diesel, DKNY, The Elle Style Awards, Erdem, Frame Denim, Halston Ultrasuede premier, Hugo Boss, Issa, Jean Charles de Castelbajac, J Crew, J Lindeberg, Jaeger, Ji Won Chi, Georg Jensen, Kiehl's, H&M, Kurt Geiger, Kenzo, Levi's, LK Bennett, Louis Vuitton, Luxxotica, Mario Testino, Maxmara, Miu Miu, Michael Kors, Mulberry, Net-A-Porter, Nicholas Kirkwood, Paul & Joe, Paul Smith, Ray Ban, Selfridges, Tod's, Topshop, Tory Burch, Whistles, William Vintage, YSL Beauty Art and Lifestyle - Annabel's, Bafta Awards, The BBC, Blonstein Productions, Baileys Chocolat Lux, The Belvedere Hotel, Cannes Film Festival, The Chiltern Firehouse, Damien Hirst, Dazed and Confused, The Design Museum, Dover Street Arts Club, Dulwich Picture Gallery, Fran Cutler Associates, Facebook, Gagosian Gallery, Glastonbury festival, The Guardian Guide, Grey Goose, GHD, Hotel Sanders, Inception film premier, Lancome, Lanza Baucina, Liberty, Lou Lou's, Marina Abramovich, Minotti, Marie Claire, My Beautiful City, The National Gallery, Netflix, The Ned, The Official Olympics Party, Pedro Almodovar, Pernod, Rankin, Start Boutique, The Saatchi Gallery, The Serpentine Summer Ball, Sisley, The V&A, Vinyl Factory, Wallpaper* Magazine, The White Cube, Zaha Hadid Clubs Fabric, Xoyo, Turnmills, Razmattaz, The Nest, Kokos, Dalston Superstore, The End Contact: [email protected]

#Lou Hayter #REF

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maisgammoh · 4 years ago

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HELLO!

Hello! I’m a photographer and focus puller based in Amman, Jordan.

Here are some projects I worked on.

1ST AC / FOCUS PULLER

2024 Ambush - Short film

2024 All That’s Left of You - Feature film

2023 Rawabi School for Girls (Season 2) - Netflix Series

2023 Orange Telecoms. - Web Ad

2023 Iskan Bank Savings Campaign - TVCs

2022 Hajjan - Feature film (TiFF 2023 premiere)

2022 Seal Team - Paramount Plus Series

2022 Farzi - Amazon Prime Series, Jordan Unit

2022 AlMesbah 2 (Child Episode) - Web series

2022 Iskan+ - TVC

2022 Inshallah Walad - Feature film (Cannes 2023 premiere)

2022 Zara Man (Paris) - Fashion film

2021 John Wick 4 (Focus Puller, Jordan splinter unit) - Feature film

2021 Focus Puller - Galbi Ana (Emsallam) - Music video

2021 Focus Puller - One Like Him - Short film

2021 Focus Puller – Rawabi School for Girls Launch Special, 2021

2020 Focus Puller – Rawabi School for Girls – Netflix Series

2019 Focus Puller – Farha – Feature film

2018 Additional 2nd AC – Messiah – Netflix Series

2017 Focus Puller (splinter unit) – A Private War – Feature

2016 Focus Puller – McDonald’s 20 Year Celebration Ad – TV Spot

2016 Focus Puller – Fweekeh – Short film

2015 Focus Puller – The Parrot – Short film

2014 Focus Puller, Photographer – ZAIN Jordan Eid TVC

2014 Focus Puller – Nabil Arabia - TVC

2014 Focus Puller – Royal Jordanian Airlines - TVC

2014 Focus Puller, AC, Camera operator – Samsung Launching People, Mother’s Day Ads

2013 B-Cam focus puller – Seam – Short film

2012 Focus Puller, AC – Waiting for P.O. Box – Short film

2011 AC – Fugue – Short Film

2010 Focus Puller, Second Unit DoP – Khabini (Salam) – Music video

2010 Focus Puller – Telefizion (Yazan Rousan) – Music video

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CAMERA OPERATOR

2023 Royal Wedding Drone Show - Special Event

2021 Al Abdali Lifestyle videos - Ad Campaign

2020 Rawabi School for Girls - Second Unit - Netflix Series

2015 – 2017 HM Queen Rania’s Office Event Videos

2014 Men’s Talk Show – TV talk show (Sat7)

2012-2013 Camera Operator, 2nd Unit Focus Puller – Zain – TV series

2011 Forever 23 (Jesse Yallup) – Music video

2010 Mastershot – Short film, SAE

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CINEMATOGRAPHER

2023 Varsity (Camera Operator, Jordan plate unit DoP)- Apple TV series

2022 Worship Project: The Lord’s Prayer - Music Video

2022 Worship Project: How Deep the Father’s Love for Us - Music Video

2021 Rawabi School for Girls (Netflix) Ad campaign

2021 GIZ People with disabilities - Short Documentaries

2021 Global Goals World Cup - women’s football championship - Short Documenatry

2021 Let Sleeping Dogs Lie - Short film

2014 – 2019 EDRAAK MOOCs - Online Educational Videos - QRF

2019 OUN App service providers – Success Story highlight video

2019 Harvard School of Education, QRTA interviews

2018 Tico Tico – Marwan Al Wer – Music Video

2018 Two Peas with Zainab Salbi – Web Talk Show

2017 Netflix Mena Ramadan 2017 Campaign, Tima Shomali Contribution

2017 Fitness Arabia - Training Videos

2017 Amman Design Week – Designer Highlights

2014 Madrasati Initiative Testimonials – short documentary

2013 NewThink Festival – TV Ad & corporate videos

2012 FE-MALE – web series

2011 Glorious Christmas (Songs of Hope) – Music video

2011 EvaluateME – TV Ad. (Injaz Regional Competition)

2011 Zaytouneh (now Atbaki) – Cook Show

2011 Home – Short documentary

2010 As You See It – Short Film

2010 Forbidden Consequences – Short film

2010 Train – Short documentary

2009 She – Short visual documentary

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CAMERA SYSTEMS

Arri: Alexa, Alexa Mini, Mini LF, Amira, SXT, 35

Sony: Venice, F5, FX9, FS7, A7s

RED: ONE, EPIC, SCARLET, KOMODO

Black Magic: URSA Mini

Canon: 5D, C200

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SELECTED EDUCATION & COURSES

2020 Hurlbut Academy “How to be a Focus Puller” online course

2018 Darkroom training – developing and printing analogue photographic film

2012 RED ONE camera training and advanced cinematography training

by Michael Gahut - FAMU

2011 Red Sea Institute for Cinematic Arts (RSICA) – Aqaba

MFA in Cinematic Arts – concentration: Screenwriting and Cinematography

2009 Documentary Filmmaking Workshop

by RFC in coordination with University of Southern California staff

2008 Intermediate Digital Filmmaking Workshop with the RFC

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OTHER SELECTED WORK HISTORY

2009 – Current

Freelance Editor

Editing short films: fiction, documentary, corporate.

Clients include: Industrial Solar, Friends of Jordan Festivals, Hashemite Commission for Disabled Soldiers (Invictus Games), Office of Her Majesty Queen Rania Al Abdullah, General Intelligence Department

2008 – Current

Freelance Filmmaker

Producing, directing, shooting and editing audiovisual content; specializing in camera department.

2007 – Current

Freelance Photographer, Photo retoucher

Documenting various activities, behind the scenes; special events; food, products and still life; commercial and editorial; portraiture; as well as special subject commissions.

Clients include: MODE Advertising Agency, Shawkat Shami, Eat Group, Café Italia, GIZ, Mint Advertising Agency, SAE institute, Tima Shomali (Director/Actress)

2007 – Current

Digital Filmmaking Training

Design and deliver general, or client-specific, training on filmmaking basics; from writing, producing, directing, shooting and editing both fiction and documentary

#about

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whatsonmedia · 2 years ago

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Top 10 Fashion from the 2022 Venice Film Festival!

One of the most opulent film festivals in the world, along with Cannes' red carpets lined with photographers, is the yearly Venice Film Festival. A-list celebrities attend events not just to promote their newest movies but also to showcase the best fashion designs from the most recent ready-to-wear and couture runways by collaborating with top stylists. There were many noteworthy red carpet fashion moments at the 2022 Venice Film Festival. Many of today's top stars attended the 79th edition of the yearly film festival, including Julianne Moore, Tessa Thompson, Florence Pugh, Harry Styles, Sadie Sink, and many others who dazzled in high-fashion ensembles by designers like Valentino, Armani Privé, Gucci, and others. In collaboration with stylist Kate Young, Moore, who is serving as the jury president this year, has created outfits from Armani Privé, Valentino, Alaa, and other designers. WhatsOn highlights a few of the most memorable fashion moments from the 2022 Venice Film Festival in this article. So keep checking back for the latest real-time uploads of the hottest looks from the Venice Film Festival red carpet. 1. Jodie Turner-Smith in Christopher John Rogers Throughout the 2022 Venice Film Festival, actress Jodie Turner-Smith has also had a string of noteworthy fashion moments, including at the "Bardo" premiere. Turner-Smith wore a dress with a multicolored paint-splatter pattern from Christopher John Rogers' pre-fall 2023 collection on the red carpet. 2. Julianne Moore in Valentino Julianne Moore has had a string of noteworthy red carpet fashion moments in her role as this year's jury president. She wore a sheer black dress with multicolored sequins for the premiere of "White Noise" on the festival's opening night, which became one of her most iconic outfits. 3. Florence Pugh in Valentino Florence Pugh debuted at the Venice Film Festival in a sequin-embroidered black translucent dress over black high-waisted shorts from Valentino's fall 2022 couture line. She accessorized the ensemble with Tiffany & Co. jewelry and black heels with feather accents. 4. Harry Styles in Gucci When Harry Styles made his debut at the Venice Film Festival for the "Don't Worry Darling" premiere, he drew inspiration from his fashion line with Gucci. The artist and actor wore a powder blue button-down shirt with an oversized collar underneath a double-breasted navy suit. 5. Olivia Wilde in Gucci Actress and director Olivia Wilde wore a specially made yellow draped chiffon dress from Gucci to the "Don't Worry Darling" premiere. The outfit was embroidered with crystals. 6. Ellie Goulding in a wet-look metallic gown Ellie's wet-look metallic gown clung perfectly to her gym-honed physique as she flashed a glimpse of her lithe legs through a daring thigh-high split. 7. Tessa Thompson in Elie Saab At the "Bardo" red carpet debut, Tessa Thompson donned an all-red satin wrapped dress with an attached hood and cape from Elie Saab's fall 2022 fashion design, continuing her edgy fashion theme for the whole Venice Film Festival. 8. Timothée Chalamet in Haider Ackermann Timothée Chalamet's most recent appearance at the 2022 Venice Film Festival reflected his varied sense of fashion and preferred designer. For the premiere of his movie, "Bones & All," Chalamet collaborated with designer Haider Ackermann. He wore a metallic red halter-neck top with a backless design and matching red pants. 9. Sadie Sink in Alexander McQueen Sadie Sink stood out in an Alexander McQueen outfit as she arrived to the opening of her movie "The Whale." The star wore a strapless, tulle dress with crystal embroidery and cuts from the fashion house's pre-collection for spring 2023. 10. Emma Chamberlain in Valentino YouTube star Emma Chamberlain dressed in a crimson ruched Valentino gown from the Fashion from fall 2007 collection for the Venice Film Festival, paying homage to vintage style. Read the full article

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memoistore · 3 years ago

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Dakota Johnson Wore Schiaparelli To The 2021 Gotham Awards

Dakota Johnson attended the 2021 Gotham Awards held at Cipriani Wall Street on Monday (November 29) in New York City, where she was representing her new film ‘The Lost Daughter.’ Dakota has given us plenty of great moments promoting this film with the London and Venice Film Festival serving as the highlights. This Schiaparelli Spring from Red Carpet Fashion Awards https://ift.tt/3lnnvU9 via IFTTT

#IFTTT #Red Carpet Fashion Awards

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bollywoodhits · 3 years ago

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Covid-19 friendly kiss over the mask at Met Gala 2021

Met Gala 2021: The much awaited Met Gala, which usually takes place in the month of May every year, returned for a fall rendition and stars decided to use the opportunity to put their most fashionable foot forward at fashion’ big night at Metropolitan Museum of Art in New York. Jennifer Lopez and Ben Affleck shared a Covid-19 friendly kiss at the event on Monday and their photographs are going viral on the social media.

Affleck and Jennifer Lopez recently rekindled their relationship after several years, and made their debut at the Met Gala this year 2021 in outfits by the Ralph Lauren. Though they did not walk down the red carpet together but met inside. They share an intimate moment inside the event. Ben Affleck and Jennifer Lopez shared a kiss through their masks.

The COVID-19 friendly kiss between Jennifer Lopez and Ben Affleck, is now becoming the biggest highlight of the event. It was initially stated that celebs will be required to remain masked up while at the venue of the Met Gala.

Lopez and Ben made their first red carpet appearance together at Venice Film Festival, after nearly eighteen years since they had postponed their wedding back in the early 2000s.

#bollywoodhits #bollywoodhitsin #celebrity # Read on : BollywoodHits.in

#Bollywood Hits #Bollywood news #hollywood news #bollywoodhits.in #movie review #celebrity gossip

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undertheinfluencerd · 3 years ago

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https://ift.tt/2WLraST #

A brand new behind-the-scenes featurette for Warner Bros. Pictures and Legendary’s highly-anticipated all-star film adaptation of Dune has arrived online, featuring lots of new footage. The new Dune featurette, which you can check out below, gives highlight to the galaxy’s royal houses as well as their prominent members including House Atreides and House Harkonnen, who are ancient-long rivals. It also provides us a better look at the story and how each characters affect Paul’s journey.

The Denis Villeneuve-directed film had its world premiere last Friday at the 2021 Venice International Film Festival. It is currently slated to arrive in theaters and on HBO Max on October 22.

“I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.”

Are you ready to experience @DuneMovie in #DolbyCinema? pic.twitter.com/22QtnPYolg

— Dolby (@Dolby) September 6, 2021

RELATED: Dune 2: Director Denis Villeneuve Is Already Writing the Sequel

Based on Frank Herbert’s 1965 novel, Dune will feature a star-studded cast including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, with Charlotte Rampling, Jason Momoa, and Javier Bardem.

Buy the book that started it all.

“A mythic and emotionally charged hero’s journey, the movie tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people,” reads the synopsis. “As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence — a commodity capable of unlocking humanity’s greatest potential — only those who can conquer their fear will survive.”

RELATED: The Battle For Arrakis Begins in Denis Villeneuve’s Dune Trailer

Dune is directed and executive produced by Denis Villeneuve from a screenplay he co-wrote with Jon Spaihts and Eric Roth. It is produced by Cale Boyter, Joe Caracciolo Jr., and Mary Parent. Oscar-winning and multiple Oscar-nominated composer Hans Zimmer (Blade Runner 2049) is creating the score.

The post Dune Featurette Reveals New Footage Highlighting the Royal Houses appeared first on ComingSoon.net.

#infinitywar #batman #robertdowneyjr #venom #avengersinfinitywar #comic #chrisevans #thanos #starwars #captainmarvel #marvelcosplay #blackpanther #wolverine #stanlee #memes #geek #toyphotography #love #steverogers #toys #actionfigures #drawing #spidermanfarfromhome #igcomicfamily #ps #marvelmemes #funko #funkopop #anime #comicbook

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architectnews · 4 years ago

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Five architecture and design events in May from Dezeen Events Guide

An exhibition about nightclubs at the V&A Dundee and the first-ever Mexico Design Fair are among the events listed in Dezeen Events Guide this May, while the Venice Architecture Biennale is also taking place after its postponement last year.

Other in-person events this month include NYCxDesign, Iceland's largest design festival DesignMarch and the debut International Architecture Film Festival Barcelona, as a number of countries around the world tentatively ease coronavirus restrictions.

Head over to Dezeen Events Guide for a comprehensive list of the architecture and design events happening in May and beyond, or read on for some of the highlights this month.

Top image: the Night Fever exhibition features a socially distanced silent disco as photographed by Michael McGurk. Above: the inaugural Mexico Design Fair will be taking place at Casa Naila

Night Fever: Designing Club Culture 1 May 2021 to 9 January 2022

While music venues remain closed across the UK, the V&A Dundee is opening its doors for the first time this year with an exhibition celebrating nightclubs as a "total design experience" that aims to unify sound, lighting, architecture, fashion and performance into one immersive spectacle.

From Italian discos in the 60s to today's virtual pandemic raves, the show explores club culture as an environment that encourages radical design and takes a look at iconic spaces from Berlin's Berghain to B018 in Beirut and the Hacienda in Manchester.

A special section of the exhibition will be dedicated to its local context and Scotland's contribution to the rave scene, including The Rhumba Club night and Sub Club in Glasgow. The latter opened in 1987 and is reportedly home to the longest-running house and techno club night in the world.

Mexico Design Fair 2021 21 to 23 May

The inaugural Mexico Design Fair will be taking place at the Casa Naila – a beachside holiday home on the rugged coast of Oaxaca designed by local firm BAAQ.

Clad in permeable palm panels traditionally used to form informal beach huts, the structure exemplifies the same emphasis on local character and identity that the event hopes to nurture.

The fair is curated by architect and designer Carlos Torre Hütt and will showcase a selection of contemporary work by more than 20 designers, alongside 13 galleries and brands that are reinterpreting the country's distinctive vernacular.

Among those represented will be furniture design studio ATRA, rug brand Odabashian and the Galería Mexicana de Diseño, with one person set to be awarded the first-ever Designer of the Year prize for their contribution to the Mexican design industry.

Lebanese designer Charles Kalpakian will be exhibiting his work at the Collectible design fair

Venice Architecture Biennale 2021 22 May to 21 November

After being delayed by a year due to the coronavirus pandemic, the 17th International Architecture Exhibition will finally kick off this May with 112 international participants from 46 countries, including first-time entrants Iraq, Grenada, Uzbekistan and Azerbaijan.

"How will we live together?" is the guiding question of this year's biennale, as posed by Hashim Sarkis, the event's curator and dean of the MIT School of Architecture and Planning.

Participants will present their answers to this question across five different scales, from the individual and the household all the way up to the planet, while the Meetings on Architecture lecture series will see the topic debated by scholars and practitioners.

Highlights include The British Mosque, a special exhibition created by architect Shahed Saleem for the V&A pavilion, which will look at the ways that three self-built London mosques have adapted former pubs and residential houses into new hybrid architectures.

Collectible 2021 28 to 30 May

Due to coronavirus restrictions in Belgium, the Collectible design fair will be taking place digitally this year under the name Collectible Salon, accompanied by a pared-back programme of exhibitions in locations across Brussels.

In a bid to replicate the feeling of an in-person event, there will be a number of virtual talks, while a special Whatsapp feature will allow visitors and exhibitors to connect in a way that approximates real-life conversation.

Noteworthy contributions include a special project curated by Beirut non-profit House of Today that will spotlight Lebanese design and a curated section called Tension, which will feature work from emerging designers addressing the climate crisis.

Members of Hella Jongerius's studio Jongeriuslab will be working within the spaces of the Woven Cosmos exhibition

Hella Jongerius: Woven Cosmos 29 April to 15 August

For her solo exhibition at Berlin's Gropius Bau, Dutch designer Hella Jongerius paid homage to the building's history as an art school and workshop by moving herself and her Jongeriuslab team into the historical building in the months leading up to the event and producing many of the exhibits on site.

Under the title Woven Cosmos, the show examines the spiritual, healing qualities of weaving as well as its high-tech applications through a number of interactive installations, including a special loom that allows fabric to be woven along multiple axes to create three-dimensional structures.

In a live talk with Dezeen, Jongerius explained that this kind of 3D-weaving technology could one day help to "replace concrete and cement in the building industry" and create lighter, more flexible architecture.

Due to tightened coronavirus restrictions in Germany, visitors will need to content themselves with a virtual, 360-degree tour of the space for the time being. But once lockdown measures are eased, members of the Jongeriuslab team will be coming into the exhibition every day to work on the different looms.

About Dezeen Events Guide

Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year.

The guide is updated weekly and includes virtual events, conferences, trade fairs, major exhibitions and design weeks, as well as up-to-date information about what events have been cancelled or postponed due to the ongoing coronavirus pandemic.

Inclusion in the guide is free for basic listings, with events selected at Dezeen's discretion. Organisers can get enhanced or premium listings for their events, including images, additional text and links, by paying a modest fee.

In addition, events can ensure inclusion by partnering with Dezeen. For more details on inclusion in Dezeen Events Guide and media partnerships with Dezeen, email [email protected].

The post Five architecture and design events in May from Dezeen Events Guide appeared first on Dezeen.

#Architecture – Dezeen

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shorthaircutsmodels · 5 years ago

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bewitching-elizabeth-olsen · 7 years ago

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Press/Gallery: Aubrey Plaza and Elizabeth Olsen Sound Off on Hollywood, Dark Humor and the Pitfalls of Instagram

W MAGAZINE – id-way through Ingrid Goes West, the so-called “Instagram” movie that premiered to rave reviews at the Sundance Film Festival in January and will finally hit theaters on Friday, Aubrey Plaza, mid-carpool karaoke—and to K-Ci & JoJo, no less—shoots a glance at Elizabeth Olsen that sticks with you long past the credits. It’s a look of equal parts envy, lust, desperation, and infatuation—in a word, it’s unhinged. And it’s what makes Ingrid Goes West one of the summer’s most captivating movies.

In the film, Plaza plays the titular Ingrid, a fragile and arguably deranged twenty-something who finds her calling after the death of her mother. In her copious free time she turns to Instagram to pass the hours, stumbling upon what will soon become an all-encompassing obsession: Olsen’s Taylor Sloane, a seemingly perfect, blonde-haired, blue-eyed, California-living, avocado toast-loving Instagram star. And so Ingrid goes West, to meet Taylor and get a piece of that social media bliss for herself. As you might guess, hijinks ensue—both slapstick for the Millennial set (at one point Plaza attempts to diffuse an awkward situation by screaming “I brought rosé!”, and it works) and unexpectedly dark (blackmail; attempted murder).

The relationship between Ingrid and Taylor is a tenuous one, powered by iPhone battery life and Valencia filters that, like Ingrid’s gaze, will leave you feeling uneasy. Plaza and Olsen IRL, however, is another story. Nine months after the film’s Sundance debut, and countless photo ops (including one particularly ingenious red carpet ‘who wore it better’ moment), late night interviews, and yes, Instagram posts, the pair has an easy rapport, fueled by a similarly quiet wit and general affection for their joint project. Sitting together on a secluded bench just outside a bustling photo studio, the pair frequently broke off a conversation about the film for quick asides and playful bickering among themselves (and, no, Plaza does not hate Girls Trip). It was all-too-easy to just sit back and passively observe, à la Ingrid scrolling through Taylor’s feed—albeit, hopefully in a much less creepy fashion. Here, the pair talks about their new film, embracing social media, and the specificity of Los Angeles vocal fry.

How did you first find this project?

Aubrey Plaza: I was sent the script through my agent. He got his hands on it really fast, and I kind of knew the director and writer [Matt Spicer] socially, so I reached out to him on my own and got together with him. I was just very aggressive about it. I just loved the script. It’s a beautifully written script. It’s very specific, and I thought it was so rare to have a story from one character’s perspective. I liked the subject matter, also, and thought it was really timely and a really beautiful human story, but also a great commentary on what’s happening right now with social media and society.

Elizabeth Olsen: I had a friend who mentioned [the movie] to me and said, “There is this movie called Ingrid Goes West and if you hear about it, I think it’s really funny and I said that you’d be great for it.’ And then three months later, it came in with a pile of other scripts to my agent and manager, and they were like, “We’ll read this.” And I was like, “I’m going to read it too!” Then I read it and was like, “I’m going to do it!” I don’t know if everyone who read it would get the humor until they saw it, but I got it. I was like, “This is brilliant.” My favorite movies growing up were weird films that were a little off, like Heathers or Death Becomes Her or Return to Oz.

AP: It does have an old school, cult classic vibe to it.

EO: It has a dark, cult classic-y feel, and that’s why I loved it.

Had you met before filming?

EO: No. Actually—yes, once.

AP: In a shop. The General Store.

EO: The Mohalk General Store in Silver Lake, and you were on crutches.

AP: I was just shopping with my friends.

EO: And I knew one of your friends, and we all met. Then that was it. But that was a long time ago.

AP: I guess we both have the same taste.

EO: Maybe. I was in there first.

Aubrey, were there any fictional characters that you looked to to help you tap into the mind of Ingrid?

AP. There were definitely movies that we thought of, at least tonally. [Martin Scorsese’s] King of Comedy was a big one; just the idea of having that person who is obsession-worthy. But there weren’t any specifics characters.

Elizabeth, in the film your character is a big Instagram influencer, and I read that director Matt Spicer made a fake Instagram account for you to help get into the mindset of a social media star.

EO: He did. The password was like, ‘I love the beach,’ or something stupid. He had a list of influencers he wanted me to follow, so that was like my homework. He also wanted me to practice taking photos and I was like, ‘But I’m so bad at taking photos.’ But I took a picture of a dog in my backyard, and a sign that said “Beautiful Inside.” I didn’t know what I was doing. Thank God I didn’t have to take any pictures for the movie because I am really bad at taking photos.

And you are both pretty new to Instagram yourselves [Elizabeth started using her account in February, while Aubrey recently made hers public]. Have you embraced it more now after doing this film?

AP: I always felt a little pressure about [going public], especially since I had gotten off Twitter, so I didn’t have any social media presence. But then I was really excited about this movie and another movie that I had come out this summer [ The Little Hours, which is currently in theaters], so I was just excited about having a way to share that with people. So I was like, I’m just going to dive in.

EO: It’s kind of funny now. I kind of enjoy it.

AP: I did a fun little video on my vacation.

EO: You did a Story?

AP: No, I didn’t do a Story. I haven’t ever done a Story.

EO: Oh, the Big Little Lies video. That was funny.

AP: But I’m not as judgmental about it. I’m like, ‘Oh, whatever.’

Is there anyone in particular that you like to follow?

A.P.: I mostly just follow all of my friends. Who is really good at Instagram? I don’t know.

EO: I don’t know either. My friend Jake is really good at Instagram.

A.P.: Official Sean Penn is really funny to me. Those funny, comedy ones are always good.

EO: Danny Pellegrino, do you ever follow him? He’s funny.

AP: And John Early. He’s always doing these, like, dances.

EO: We went to school together. He was in the grade above me.

AP: I did not know that. I’ve never met him, I just think he’s funny.

You shot the movie in Los Angeles, and the film has a very specific Los Angeles vibe to it. What was it like shooting there?

EO: I like filming on location; it’s hard for me to work where I live. You obviously have had so much experience working where you live. I’m assuming with Parks & Rec?

AP: Yeah, but it’s different on a movie. With TV, it’s like, ‘This is my job, I’m going to work.’ For this movie [shooting in LA] made sense, and it was fun to go to Venice, because I don’t ever go to Venice, or Joshua Tree and other places like that which I never want to go to.

E.O.: Joshua Tree was really fun. Matt, Aubrey, and I shared a home. He never reviewed or rated me, and I’m trying to get an Airbnb right now and I feel like me having points or something would help me get a place. Then I got nervous because I thought we may have left the house dirty, but we didn’t. We were really respectful.

AP: We definitely borrowed some of his hats, but I think we put them back.

EO: We did. And I think he told us there was a hat closet in his opening note.

AP: And ponchos.

E.O.: But I really want my rating.

Speaking of Los Angeles—Elizabeth, the very particular Valley Girl-esque cadence of your voice as Taylor is a real highlight of the film. Did you pull inspiration from anyone in particular?

EO: I just grew up in LA and the only reason I don’t talk like that is because I went to drama school, probably. My mother has a high-pitched voice and I feel like you take on the cadence of people around you. I just think what is really funny about people in LA is that they talk like they are running out of breath.

AP: Even your laugh was different.

EO: I know, but then I was laughing like that with my friends. I was like, ‘Why am I doing that?’

How long was the shoot altogether?

EO: Like, a week.

AP: Yeah, seven days. No, it was twenty-four days total.

EO: So nuts.

Did that kind of quick, intense schedule affect your relationship? It sounds almost like a summer camp, secluded bubble type of experience.

EO: Aubrey never had a moment off, because the whole movie is her. I had a lot of time to go have my normal life and come back.

AP: I feel like when we were on set, we were in really uncomfortable situations at times. Our toilets were in our chairs.

EO: Like, if you moved this bench up, there would be a toilet under there. The toilets smelled so bad.

AP: But it was good. It helped us band together.

EO: Like little, dirty children.

Is there anything in particular that you are obsessed with right now in your own life?

EO: My friends are very obsessed with this movie, which is cool. They all went to the premiere in LA. And I heard Girls Trip was fantastic.

AP: Oh, I want to see that.

E.O.: My friend Clay saw it and was obsessed with it. Then I said, ‘What’s better, Ingrid Goes West or Girls Trip?’ And he said, ‘Honestly, Lizzie, they are on the same level.’

AP: What.

EO: That movie was a huge success; that’s a compliment.

AP: Okay…

EO: Take it as a compliment. I think it got 99 percent on Rotten Tomatoes. People are obsessed with Girls Trip.

Gallery Link:

Studio Photoshoots > 2017 > Session 027

Press/Gallery: Aubrey Plaza and Elizabeth Olsen Sound Off on Hollywood, Dark Humor and the Pitfalls of Instagram was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

#Elizabeth Olsen #Lizzy Olsen #Avengers #Scarlet Witch #Wanda Maximoff #Marvel

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caveartfair · 6 years ago

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8 Artists Pushing the Limits of Digital Effects and VR

Artists have long been the pioneers of the digital realm, pushing its technological, aesthetic, and critical potential. While the net art of the 1990s was the first to fully embrace and popularize “new media” in an art context, digital image-making hails back to earlier artists like Lynn Hershman Leeson, who, in the late 1980s, transferred the critical concerns of video art into a digital reality.

Today, digital image-making is found increasingly everywhere, from advertising and gaming to Hollywood cinema, while the internet, once a subcultural and peripheral space, has become a global connecting condition of humanity. While still considered a marginal technology to most, virtual reality (VR) is rapidly entering everyday life, be it through shopping, entertainment, communication, or education.

While the virtual sphere is a place for radical social and political imagination—challenging how we perceive the constraints and limits of the physical world—it also increasingly implies the surveillance and control of people, bodies, and places. Art offers a way to articulate this complexity as it’s still being understood.

Below, we feature eight artists who address the ambiguous status of the digital image today—a time where the digital is fully enmeshed in all aspects of life, fusing the real and the virtual, the human and the inhuman, the body and the screen.

Cecile B. Evans

Hyperlinks or It Didn't Happen, 2014. Cécile B. Evans Barbara Seiler

Workspace_Haku, 2014. Cécile B. Evans Musée d'Art Moderne de la Ville de Paris

Amos' World. Episode One, 2017. Cécile B. Evans Art Night London

The London-based artist Cecile B. Evans brings traditionally humanist themes such as love, memory, and consciousness to a speculative, technology-driven near-future, where wetware, software, and hardware commingle. Her ambitious video projects examine subjectivity and agency in the digital sphere, proposing the hybridity of organic and technological life.

Evans’s 2014 animated video Hyperlinks or it Didn’t Happen compares the obsolescence of digital life forms, such as spambots, render ghosts, and holograms with that of human life through an animated avatar of the late actor Philip Seymour Hoffman—a figure that has since been joined by a range of other virtual characters who appear in her artworks.

Since then, Evans’s ambitious architectural video installations such as What the Heart Wants (2016), as well as the trilogy “Amos’ World” (2017–19), have fused spectacular digital animation with live-action video, stop-motion sequences, and found footage, depicting complex and fantastical virtual universes where the politics of technology are repeatedly un-done and re-considered.

Jon Rafman

Potchefstroom South Africa, 2012. Jon Rafman Feuer/Mesler

Riksveg 890, Finnmark, Norway, 2013, 2013. Jon Rafman Galerie Antoine Ertaskiran

Sculpture Garden (Hedge Maze), 2015. Jon Rafman Arsenal Contemporary

As an aesthetic cybersurfer, Jon Rafman’s techno-ethnographic projects examine the darkest corners of virtual spaces such as Second Life, Google Street View, and YouTube, scavenging for ambiguous and often unsettling images that underline the eeriness of cyberspace. The Montreal-based artist highlights the funny, violent, erotic, and surreal intersections that occur between physical and digital life.

Rafman’s ventures into VR include his 2015 installation at the Zabludowicz Collection, which invited viewers to navigate a dimly lit maze through Oculus Rift goggles, occupied by digital sculptural busts. His much-lauded commission for the 9th Berlin Biennale in 2016 furthered this haptic surrealism with a dystopian, site-specific VR animation in which uncanny physical sculptures of animals swallowing each other come to life, and the balcony on which viewers stand begins to crumble.

For Rafman’s recent commission for the French fashion house Balenciaga, the artist produced a screen-based tunnel that served as a runway, through which models emerged from what seemed like a void of collapsing cyberspheres. Rafman offers no redemption from these unsettling and dystopian media worlds, only a persistent manifestation of how these spaces already engulf human existence.

Jacolby Satterwhite

Alpha, 2013. Jacolby Satterwhite LUNDGREN GALLERY

Domestika (VR Video), 2017. Jacolby Satterwhite LUNDGREN GALLERY

Factory Six, 2015. Jacolby Satterwhite LUNDGREN GALLERY

Cyberspace has always served as an important space for queer minorities, and the hypnotic videoscapes by New York–based artist Jacolby Satterwhite perfectly encapsulate this tradition. A performance artist with superior digital animation skills, Satterwhite produces hallucinatory virtual architectural underworlds occupied by cyberfreaks, leather queens, and other sexual deviants, presented in spectacular, orgy-like parades.

His Blessed Avenue (2018), presented at Gavin Brown’s Enterprise in New York, is the artist’s magnum opus as of yet: a laborious, multi-year production realized through the 3D animation software Maya, allowing for complex modeling, rendering, and simulation using both green-screen and purely digital images. The work is not only a breathtaking testament to queer digital labor, but also a joyful reminder of how all emergent spaces—physical as well as virtual—are ripe for occupation by radically transgressive communities.

Laurie Anderson and Hsin-Chien Huang

The Chalkroom, 2017. Laurie Anderson MASS MoCA

While not usually considered in the canon of digital art, the American filmmaker, composer, poet, and multimedia polymath Laurie Anderson has never been shy of experimenting with emergent media forms. This includes VR, a venture that Anderson commenced in 2016 with renowned Taiwanese new-media artist Hsin-Chien Huang. Their collaboration, La Camera Insabbiata (2017), unfolds as a breathtaking VR environment in which viewers levitate and float freely through a vast eight-room architectural environment, contrasting the mission-based format of many VR experiences.

The piece was awarded “Best VR Experience” at the 74th Venice International Film Festival, and led to the realization of The Chalkroom (2017), currently on permanent view at Mass MOCA in Massachusetts as a part of a larger installation devoted to Anderson’s work. Devoid of any techno-futurist paranoia, The Chalkroom is saturated with breathtaking panoramic vistas and set to the artist’s compelling poetic narratives, encouraging the viewer to meditatively drift through cyberspace.

Sidsel Meineche Hansen

Sidsel Meineche Hansen, DICKGIRL 3D(X) (still), 2016. Courtesy of the artist and Rodeo, London/Piraeus.

VR was embraced by the porn industry before the art world, and in the last decade, the medium has been both lauded and criticized for its potential to revolutionize erotic image-making by partially or fully replacing “real” human bodies. The London-based artist Sidsel Meineche Hansen poignantly tackles the sociopolitical consequences of VR pornography in her research-driven work, drawing connections between the ethics of flesh and digital bodies.

Her 2016 exhibition “Second Sex War,” at Gasworks in London, included the abstracted pornographic CGI animation DICKGIRL 3D(X), featuring EVA v3.0, a royalty-free product sold online by the digital media company TurboSquid. Through EVA, as well as appropriated “genitalia props” sourced from CGI stock image sites, Hansen explores the complex commodity status of 3D bodies in porn, reading it alongside past feminist struggles so as to define a progressive body politic under digital capitalism.

Ian Cheng

Metis Suns, 2014. Ian Cheng Standard (OSLO)

Emissary Forks at Perfection Map, 2015. Ian Cheng Pilar Corrias Gallery

Emissary Forks at Perfection, 2015. Ian Cheng Pilar Corrias Gallery

In his career, New York–based artist Ian Cheng has continuously pushed technological limits in order to examine the potential of digital imaging and VR. His biggest work to date is his “Emissary” trilogy (2015–17), a series of live simulation videos based on a video game engine that enables the game to predict and react to its own scenarios, such as climate change or war.

By assigning a certain set of behaviors and properties to virtual objects and characters—some ripped from video games, others self-produced—Cheng’s simulations quite literally form a life of their own through the work’s own feedback. While evoking the cartoon-like appearance of gaming landscapes, his work touches on fundamental questions about human consciousness, existence, and survival—anxieties that are often acted out through digital animation and gaming more generally.

But by creating closed virtual systems, where the viewer is reduced to mere onlooker of a self-generating dramaturgy, Cheng shifts away from an anthropocentric perspective of the virtual, and shows, with humor and wit, how machines should increasingly be understood as narrative-producing and cognizant entities in their own right. And by extending his artistic presentation into online gaming spaces such as Twitch, Cheng connects his digital art practice with broader digital communities, whose efforts to advance an appreciation of the cybersphere remain equally important.

Kate Cooper

RIGGED, 2014. Kate Cooper "Kate Cooper: Rigged" at KW Institute for Contemporary Art, Berlin (2015)

In a time of virtual influencers such as Miquela and Shudu, who quite literally lease their CGI bodies to brands for sponsored content, the division between subject, object, and body is rapidly blurring. With acute technical ability in CGI rendering, the London- and Amsterdam-based artist Kate Cooper explores how the ethics and politics of digital bodies—such as those found in advertising, video games, and on social media—echo that of human ones, and asks how we might learn tactics of resistance against systems of oppression through virtual agents.

Cooper’s 2014 series “Rigged” features a series of CGI-rendered women in a sterile virtual studio space, seemingly anticipating—but never actually commencing—any narrative as such. The work has since become a seminal work to the “post-internet” art canon, and has toured a plethora of museum shows. In Cooper’s 2018 commission for the Stedelijk Museum in Amsterdam, we encounter another female computer-generated avatar, this time wearing a translucent suit continuously inflating and deflating. As the avatar begins to get sick, bruise, and bleed, Cooper confronts us with how we perceive digital bodies as beyond mortality, and thus beyond care—and with a subtle radicalism, she speculates how we might learn political refusal from our digital counterparts.

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