Untitled (Mental Map - Evasion V), 1996
Untitled (Mental Map - Circus B), 2000
Untitled (Pacific no 42, a location your business will treasure), 1998
Franz Ackermann
2/26/2008
EMOTIONAL LANDSCAPES
2/25/2008
LOVE SONG
Untitled (Go-go platform), 1991
woods, lights and paint
Felix Gonzalez-Torres
courtesy Andreas Rosen Gallery
the lights are still on, the platform is empty, the go-go dancer is missing and the lovers are not here.
2/24/2008
SOLEILS BRILLANTS
Walter Pfeiffer
Born in Switzerland, Walter Pfeiffer lives and works in Zurich. Since the 1970s, he’s photographing friends and strangers. With a new visual vocabulary, he’s changing our perception of realism in photography, mixing notions of intimacy, emotions, eroticism and gender.
Walter Pfeiffer, with Nan Goldin and Nobuyoshi Araki, have changed the perspectives of photography reinterpreting and re-loading the art of portrait. They gave birth to a new portraitists generation like Jack Pierson, Wolfgang Tillmans, Terry Richardson, Ryan McGinley, Slava Mogutin and Michael Meads.
Walter Pfeiffer, with Nan Goldin and Nobuyoshi Araki, have changed the perspectives of photography reinterpreting and re-loading the art of portrait. They gave birth to a new portraitists generation like Jack Pierson, Wolfgang Tillmans, Terry Richardson, Ryan McGinley, Slava Mogutin and Michael Meads.
2/22/2008
MODERN STIMULATIONS
!Giant!, 1996
Saddam, 1998
Big Brother is watching you, 2006
Interpol Sam, 2004
Proud Parents, 2007
Psycho Posse, 2006
Shepard Fairey
Starting in the summer of 1989, Fairey created a silk-screened sticker based on obey giant, best known for his role in Rob Reiner's film 'The Princess Bride.' The 2-inch-square black-and-white stickers are titled 'obey giant has a posse' and bear the exaggerated features of the larger-than-life media figure.
Obey Giant is also known as "André the Giant Has a Posse".
Caught between Andy Warhol's vision of the commercial graphic and its influence, and Keith Haring's "paint it anywhere" graffiti, the graphics produced by Fairey are social commentaries on the American way of life and the advertisements that reinforce that lifestyle.
The Obey campaign can be explained as an experiment in Phenomenology. The first aim of Phenomenology is to reawaken a sense of wonder about one's environment. The Obey campaign attempts to stimulate curiosity and bring people to question both the campaign and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the motive is not obvious, frequent and novel encounters with Obey propaganda provoke thought and possible frustration, nevertheless revitalizing the viewer's perception and attention to detail.
The medium is the message.
More about The Obey Manifesto and Fairey, HERE and HERE.
Obey Giant is also known as "André the Giant Has a Posse".
Caught between Andy Warhol's vision of the commercial graphic and its influence, and Keith Haring's "paint it anywhere" graffiti, the graphics produced by Fairey are social commentaries on the American way of life and the advertisements that reinforce that lifestyle.
The Obey campaign can be explained as an experiment in Phenomenology. The first aim of Phenomenology is to reawaken a sense of wonder about one's environment. The Obey campaign attempts to stimulate curiosity and bring people to question both the campaign and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the motive is not obvious, frequent and novel encounters with Obey propaganda provoke thought and possible frustration, nevertheless revitalizing the viewer's perception and attention to detail.
The medium is the message.
More about The Obey Manifesto and Fairey, HERE and HERE.
2/21/2008
2/20/2008
2/19/2008
NEXT
From a novel by Dennis Cooper
Created and directed by Gisèle Vienne
Dramaturgy : Dennis Cooper
Lights by Patrick Riou
Music : Corrupted
Stylisme : Stephen O’Malley
Scenography : Jean-Luc Verna et Gisèle Vienne
Puppets : Jean-Luc Verna, Gisèle Vienne, Dorothéa Vienne Pollak, the the help of Vidya Gastladon and Jonathan Capdevielle
Performed by and created in collaboration with: Jonathan Capdevielle
“Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s.
This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university.
Due to the violence and humor of the text, there is an underlying fierceness to the performance. The glove puppet theater is in fact the traditional form used to enact violent illicit subjects. And “Jerk” unabashedly mingles sexuality and violence in the vein of gore aesthetics, thus harking back to the glove puppet repertory.
The text has been staged as a solo for puppeteer, who uses glove puppets and also acts the role of con artist.
The story, however realist it may be, seems to border on unrealism. The play’s apparent realism stems from its linear narration, as well as from its basic true story and from the trickster-puppeteer’s total identification with the fictive character of David Brooks.
“Jerk” merges three plays that were produced in collaboration with the American writer Dennis Cooper: “I Apologize” (2004), “Une belle enfant blonde” (2005) and “Kindertotenlieder” (2007). In these three plays, the links between fantasy and reality are being constantly probed, thereby altering our perception of reality. The more realist “Jerk” puts forth a consistent linear narrative, generating the credibility that undeniably stems from this form. And it is this undeniability that is reexamined by way of our different formal experiences.
Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest
Coproduction : Le Quartz - Scène nationale de Brest, Centre Chorégraphique National de Franche-Comté à Belfort
Premiere : March 5, 6, 7, 8, 2008, Festival Les Antipodes / Le Quartz - Brest
Created and directed by Gisèle Vienne
Dramaturgy : Dennis Cooper
Lights by Patrick Riou
Music : Corrupted
Stylisme : Stephen O’Malley
Scenography : Jean-Luc Verna et Gisèle Vienne
Puppets : Jean-Luc Verna, Gisèle Vienne, Dorothéa Vienne Pollak, the the help of Vidya Gastladon and Jonathan Capdevielle
Performed by and created in collaboration with: Jonathan Capdevielle
“Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s.
This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university.
Due to the violence and humor of the text, there is an underlying fierceness to the performance. The glove puppet theater is in fact the traditional form used to enact violent illicit subjects. And “Jerk” unabashedly mingles sexuality and violence in the vein of gore aesthetics, thus harking back to the glove puppet repertory.
The text has been staged as a solo for puppeteer, who uses glove puppets and also acts the role of con artist.
The story, however realist it may be, seems to border on unrealism. The play’s apparent realism stems from its linear narration, as well as from its basic true story and from the trickster-puppeteer’s total identification with the fictive character of David Brooks.
“Jerk” merges three plays that were produced in collaboration with the American writer Dennis Cooper: “I Apologize” (2004), “Une belle enfant blonde” (2005) and “Kindertotenlieder” (2007). In these three plays, the links between fantasy and reality are being constantly probed, thereby altering our perception of reality. The more realist “Jerk” puts forth a consistent linear narrative, generating the credibility that undeniably stems from this form. And it is this undeniability that is reexamined by way of our different formal experiences.
Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest
Coproduction : Le Quartz - Scène nationale de Brest, Centre Chorégraphique National de Franche-Comté à Belfort
Premiere : March 5, 6, 7, 8, 2008, Festival Les Antipodes / Le Quartz - Brest
photo : Gisèle Vienne (c)
2/18/2008
AMERICAN DREAMS
Dream Object (I was working on a piece that was like a human torso, possibly real, and I was placing objects in the head that was like a cupboards), 2001
fiber glass, wood, fabric, enamel paint, mechanic parts.
Jim Shaw
2/17/2008
2/15/2008
2/14/2008
GOOD NEWS FROM THE STARS
Bianca Casady from CocoRosie, my fav fairies, will open a new space in Paris, today, for Valentine's day, Mad Vicky's Tea Gallery.
This gallery will become a store for tea, hand made clothes, music and art. A very special selection of her personal stuff and friends.
Opening February 14th 2008 with the show of Leif Ritchey and Tooya (designers, NYC)
Area : 3 rue Nicolet, 75018 Paris, France.
More informations with Mad Vicky on MySpace.
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