Images by Levi Van Veluw
Read an interview with him here at Ping Magazine
Says the Exposure Project:
In 2002, German photographer and archivist Peter Piller obtained over 20,000 aerial photographs from a bygone business venture that endeavored to sell homeowners images of their own houses. In the statement for the work, somewhat dryly titled Arial View Archive, Piller explains:
“The salesperson had used a ball-point pen to add some revealing notes to the back of the photographs: â€œNot interested in picturesâ€, â€œlooks nicer from the groundâ€, â€œwife keen, but house too expensiveâ€, â€œyouâ€™ll get half a moped for thatâ€, â€œdoing it himselfâ€ or simply: â€œdeceasedâ€, for instance.
After several archive inspections, I was led to the first collection themes and classification categories: â€œSleeping Housesâ€, â€œFloral Objectsâ€ and â€œPerson in front of Houseâ€. Whilst sifting, for the forth, fifth and sixth time, through 18 removal boxes packed with yellowing photos and negatives; I eventually discovered the material that now constitutes the content of this book.”
Says the TED blog:
“Armed with blood samples, high-tech tools and a small army of fieldworkers, Nathan Wolfe hopes to re-invent pandemic control — and reveal hidden secrets of the planet’s dominant lifeform: the virus.” (Click here to see the video of a talk given by Wolfe before the outbreak: interesting views about pandemic movements.)
Poema de Panero sobre sÃ mismo
Jaime ChÃ¡varri habla sobre el Desencanto, documental espaÃ±ol de culto de los 70s
Fragmento del desencanto
(Gracias Carlitos Casas, Toxi-padrino y Toxi-musa)
In the summer of 1937, Tony Sarg and several others promoted a hoax in Nantucket.
Sightings of a sea serpent were advertised… footprints were found… stories published…
Then, the serpent appeared on South Beach: it was one of Sarg’s Macy’s Day Parade balloons.
Tony Sarg (1880-1942) was an American puppeteer, illustrator, designer and painter. He is famous for creating balloons for the Macy department store parades and many illustrations for magazines. He owned a store in Nantucket, the Tony Sargâ€™s Curiosity Shop.
Silence! – In the event of a divine presence,Â by Louise Hindsgavl.
“With this group of porcelain figurines, I wish to incorporate the awareness that laboratories carry out magnificent craftsmanship, as skilful people seek to grasp how life is created and what potential for additional development this implies. At the same time, I wish to sound a warning against us becoming tacit, unquestioning spectators, accepting anything simply because itâ€™s technically feasible.â€
GoldJewelleryGoldJewelleryGoldJewelleryGold…,Â by Kim Buck
“Throughout the ages, jewellery has been viewed as an investment object, not appreciated because of its design and craftsmanship but merely because of the raw materials. Kim Buck seeks to illustrate this through his finger rings in fine (24-carat) gold. Through use, the shape of the rings will be deformed beyond recognition due to the softness of pure gold. The shape will be lost over time, and the owner is left with the raw material – pure gold. The rings are cast in a unique and secret process developed by Buck.”
Images by Sui Sicong. From The Last Situation Series
Images by Shen Wei
“Growing up in Mainland China, I was brought up strictly and conservatively, any untraditional and unconventional ideas of life-style can sometimes lead to misconceptions. The goal of my projects are to raise the question about human nature, about emotions, feelings, desire, instinct and identity, to reveal things that you can feel it, that are unexplainable but yet still solid. I am fascinated with exploring the complexity of emotional nakedness and psychological connection/disconnection, as it is often expressed not specifically but explicitly.”
You can see a video interview with Wei here.
“Forget the damned motor car and build the cities for lovers and friends.“
Says Design Observer blog:
Klein is best known for his groundbreaking book New York, 1954-1955. This book is a stunning achievement â€” its urgent, messy and off-kilter images brought an edgy immediacy to what, in the 1950s, was a more complacent photographic tradition.When shooting this work Klein relied on speed and instinct. â€œI had neither training nor complexes. By necessity and choice, I decided everything had to go. A technique of no taboos: blur, grain, contrast, cock-eyed framing, accidents, whatever happens.â€ At the time, the book was rejected by U.S. publishers for what they considered its ugly and violent depiction of New York. It later gained renown after being published first in Europe (much like Robert Frankâ€™s The Americans).
His latest book, Contacts, is a kind of redux of his career. In it, Klein has gone back to his contact sheets and has re-versioned some of his original images by painting on them in bold, primary acrylics. Itâ€™s as if heâ€™s taken a photographerâ€™s standard working practice of marking up contact sheets with a chinagraph pencil and gone hog wild.
“Siento que siempre hay algo mÃ¡s por hacer. Siento que la gente en general no se atreve mucho a hacer lo que realmenteÂ quiere, siempre estamos con esta especie de barrera extraÃ±a. Pero cuando uno empieza a experimentar, y empieza a crear su propio mundo poco a poco…”
(PequeÃ±o fragmento de una entrevista que le hize ayer a Jaime,Â y que se publicarÃ¡ en el prÃ³ximo nÃºmero de la revista CÃ³digo)
La JetÃ©e, by the marvellous Chris Marker.
(Si no lo has visto, uff, te has perdido de una de las joyitas del cine.)
Images from an MIT exhibit showcasing the stroboscopic work of Harold Eugene “Doc” Edgerton, who was an MIT professor for years. The pictures above were taken by Doc with his Rapatropic camera in 1952. At an atomic test site in Nevada. (The rapatronic camera is a high-speed camera capable of recording a still image with an exposure time as brief as 10 nanoseconds (billionths of a second).
ImÃ¡genes de Gerardo Montiel Klint, ganador del premio de adquisiciÃ³n de la Bienal de FotografÃa 2009.
â€œVivimos en el Ã©xtasis mÃ¡s puro de visiones delirantes y terrorÃficas. Toda esta calamitosa tragedia humana es, sin lugar a dudas, la metÃ¡fora de un oscuro, terrible e indomable nuevo milenioâ€.
(Gerardo tomÃ³ el TÃ³xico Workshop de los Brothers Quay.)
Sound Suits, by visual artist Nick Cave
Sound Suits are sculptures with double life: they can stand in galleries objects, or can be worn by dancers as vehicles for sound and movement.
Says the New York Times:
The Soundsuits also explore themes of costuming and masquerading. Mr. Cave said he discovered this identity-altering power early on. â€œWhen I was inside a suit, you couldnâ€™t tell if I was a woman or man; if I was black, red, green or orange; from Haiti or South Africa,â€ he said. â€œI was no longer Nick. I was a shaman of sorts.â€
(Via the wonderful C-Monster blog)
Seba Kurtis naciÃ³ en Argentina, en 1974. Su tema recurrente son las fronteras (psico)geogrÃ¡ficas, y lo que significan los cruzes illegales a travÃ©s de Ã©stas. Lo cual se entiende: la segunda vez que visitÃ³ Europa coincidiÃ³ con la crisis Argentina, asi que se acabÃ³ quedando como imigrnte ilegal en EspaÃ±a. Su serie 700 miles–cifra que alude a la frontera entre MÃ©xico y Estados Unidos–es un buen ejemplo.
“There are currently 45million Hispanics working or living in the USA, (particularly from Mexico) of which 12 million are suspected illegal. This diluting of their race breeds insecurity in some American citizens, fearful of the face of America being changed. An anti-immigrant crusade has developed to prevent illegal aliens from crossing the southern border. In 2006 President Bush authorised the fencing of 700miles of the US-Mexico border of the states of California, Texas and Arizona. This $2.2 billion project is yet to materialise, but has been compared to the Berlin Wall. Patriotic Americans have given up their free time to become vigilantes â€œMinutemenâ€, who secure the border themselves and report any infiltration to border police from 24hour video cameras in their own home”
Puedes leer una entrevista con Seba aquÃ.
ImÃ¡genes de Manuel Bueno.
(Manuel tomÃ³ el TÃ³xico Workshop de Colors y Fabrica, y estarÃ¡ involucrado en un par de nuevos proyectos de TÃ³xico. Noticas pronto.)
TÃ³xico Cultura Presenta:
DOYLEÂ XÂ DOYLE
Lunes 6 de abril
Tamaulipas #202, Col. Condesa
En colaboraciÃ³n con Interior 13 Cine.
(AdemÃ¡s de la conferencia magistral del reconocido director de fotografÃa, durante un mes se proyectarÃ¡n todos los lunes en Cine Lido pelÃculas de Christopher Doyle, escogidas por Christopher Doyle)
Muchas gracias a La FundaciÃ³n/ColecciÃ³n Jumex, Max Cruz, Sandra GÃ³mez, Hotel Condesa DF, Gabriel Sabido, Ernesto Miranda, Enrique Covarrubias, Maricarmen Guajardo, Mauri Katz, Jorge Orozco, Ramiro ChÃ¡ves, Victor y Ricardo Sotomayor.
AsÃ es. Hoy llega Christopher Doyle. MaÃ±ana Master-Class para 40 personas. El lunes conferencia abierta al pÃºblico en general. Oh felicidad.
La nada y el ser, o Nothingness and Being.
Septima reinterpretaciÃ³n de la FundaciÃ³n/ColecciÃ³n Jumex, por parte de Shamim M. Momin.
A partir del 23 de abril 2009.
(La FundaciÃ³n/ColecciÃ³n Jumex es el patrocinador principal de TÃ³xico.)
Fire-work drawings, by Rosemarie FiorÃ©.
(â€œThe only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes â€œAwww!â€
A winter song for the beginning of spring.
Nuestro prÃ³ximo invitado internacional, Christopher Doyle, darÃ¡ una conferencia abierta al pÃºblico en general. TambiÃ©n estamos organizando–en colaboraciÃ³n con Interior 13 Cine–un ciclo de varias de sus pelÃculas emblemÃ¡ticas, escogidas por Ã©l.
Noticias aquÃ mismo. Pronto.
(While we wait for Christopher Doyle to arrive in three days, a little fragment out of Christoffer Boe’s TÃ³xico Workshop.)
On cinematic desires
“The internal dynamic of film always start with a hint of desire: something is wanted. Even if it is the faintest wanting, or even if it is the need of a want. Because some of the greatest movies are based on characters that don’t desire anything, but do want to desire something. Or they wanted something once and donâ€™t want it any more.Â The presence of a desire is essential to movies, and to each scene, and to a character. It is also the way I work best with actors: in our mutual understanding of the desires that drive each moment. Instead of telling an actor to be funny you tell him: you want to make her laugh, you want her to love you with her laughter. It is a completely different thing, giving concrete wishes to people instead of generic instructions. In this there is also contrasts, and undercurrents. In every scene there is a desire, and a contrast to the desire: something is working against it, underneath it. The movie also wants and desires. The movie wants to portray a beautiful woman. We need a desire for the movie, a desire for the camera, and then we need to invent obstacles for them visually, to keep the need for enigma and the need of discovery playing with one another.”
Hasta $400, 000 pesos en apoyo a la post-producciÃ³n de documentales.
MÃ¡s info en www.ambulante.com.mx
Fecha lÃmite: 12 de junio 2009
From Werner Herzog’s “Encounters At The End Of The World”
El grupo ya se cerrÃ³, y ya mandamos un correo a las 40 personas que alcanzaron lugar.
Dada la respuesta que tuvo la convocatoria, estamos viendo la posibilidad de hacer una conferencia pÃºblica ademÃ¡s de proyectar una pelÃcula de Doyle (en colaboraciÃ³n con el proyecto cultural Interior 13 Cine)… noticias sobre esto pronto, aquÃ mismo.
(Muchas gracias a todos por su interÃ©s.)