Stranded in Canton

Em 1974, o fotógrafo William Eggleston viajou pelo sul dos Estados Unidos documentando, com uma Sony Porta-pak, seus encontros com os personagens de Memphis e Nova Orleans. Em uma sequência do filme tiros são disparados, em outras meninos matam galinhas e um jovem de barba com feições de anjo divaga sobre estar ‘stranded in Canton’, uma expressão para estar bêbado ou sob o efeito de drogas.

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In 1974, photographer William Eggleston’s travelled around America’s deep south documenting, with a Sony Porta-pak, his encounters with the characters of Memphis and New Orleans. In one sequence of the film shots are fired, in others good old boys decapitate chickens and a young bearded man with an angelic face raves about being stranded in Canton, a colloquialism for being out of one’s mind on drugs or alcohol.

Berlin Super 80

Berlin Super 80 é uma compilação de 18 curtas filmados em super 8 por diretores experimentais da Alemanha Ocidental entre o fim dos anos 70 e início dos 80.

Com música de Malaria, Reflections, Einstürzende Neubauten, Frieder Butzmann e Die Tödliche Doris, documenta o movimento underground pós-punk e new wave conhecido como Neue Deutsche Welle.

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Berlin Super 80 is a compilation of 18 short films shot in Super 8 by West German experimental film makers during the late 1970s/early 80s.

Featuring music by Malaria, Reflections, Einstürzende Neubauten, Frieder Butzmann and Die Tödliche Doris, it documents the post-punk and new wave underground movement known as Neue Deutsche Welle.

 

Film’s Titles:

Brand & Maschmann: E Dopo? (1981)
Christoph Doering: 3302- Taxi Film (1979)
Markgraf & Wolkenstein: Hüpfen 82 (1982)
Yana Yo: Sax (1983)
Maye & Rendschmid: Ohne Liebe gibt es keinen Tod (1980)
Stiletto Studio,s: Formel Super VIII (1983)
Walter Gramming: Hammer und Sichel (1978)
Georg Marioth: Morgengesänge (1984)
Hormel/Bühler: Geld (Malaria Clip) (1982)
Notorische Reflexe: Fragment Video (1983)
Jörg Buttgereit: Mein Papi (1981)
Die Tödliche Doris: Berliner Küchenmusik (1982)
Butzmann & Kiesel: Spanish Fly (1979)
Manfred Jelinski: So war das SO 36 (1984)
Klaus Beyer: Die Glatze (1983)
Markgraf & Wolkenstein: Craex Apart (1983)
Andrea Hillen: Gelbfieber 1982)
Ika Schier: Wedding Night (1982)

David Bowie’s favourite books

“Interviews With Francis Bacon” by David Sylvester and Billy Liar by Keith Waterhouse and “Room At The Top” by John Braine and “On Having No Head” by Douglass Harding and “Kafka Was The Rage” by Anatole Broyard and “A Clockwork Orange” by Anthony Burgess and “City Of Night” by John Rechy and “The Brief Wondrous Life Of Oscar Wao” by Junot Diaz and “Madame Bovary” by Gustave Flaubert and “Iliad” by Homer and “As I Lay Dying” by William Faulkner and “Tadanori Yokoo” by Tadanori Yokoo and “Berlin Alexanderplatz” by Alfred Döblin and “Inside The Whale And Other Essays” by George Orwell and “Mr. Norris Changes Trains” by Christopher Isherwood and “Halls Dictionary Of Subjects And Symbols” and “In Art” by James A. Hall and “David Bomberg” by Richard Cork and “Blast” by Wyndham Lewis and “Passing” by Nella Larson and “Beyond The Brillo Box” by Arthur C. Danto and “The Origin Of Consciousness In The Breakdown Of The Bicameral Mind” by Julian Jaynes and “In Bluebeard’s Castle” by George Steiner and “Hawksmoor” by Peter Ackroyd and “The Divided Self” by R. D. Laing and “The Stranger” by Albert Camus and “Infants Of The Spring” by Wallace Thurman and “The Quest For Christa T” by Christa Wolf and “The Songlines” by Bruce Chatwin and “Nights At The Circus” by Angela Carter and “The Master And Margarita” by Mikhail Bulgako and “The Prime Of Miss Jean Brodie” by Muriel Spark and “Lolita” by Vladimir Nabokov and “Herzog” by Saul Bellow and “Puckoon” by Spike Milligan and “Black Boy” by Richard Wright and “The Great Gatsby” by F. Scott Fitzgerald and “The Sailor Who Fell From Grace With The Sea” by Yukio Mishima and “Darkness At Noon” by Arthur Koestler and “The Waste Land” by T.S. Elliot and “McTeague” by Frank Norris and “Money” by Martin Amis and “The Outsider” by Colin Wilson and “Strange People” by Frank Edwards and “English Journey” by J.B. Priestley and “A Confederacy Of Dunces” by John Kennedy Toole and “The Day Of The Locust” by Nathanael West and “1984” by George Orwell and “The Life And Times Of Little Richard” by Charles White and “Awopbopaloobop Alopbamboom: The Golden Age of Rock” by Nik Cohn and  “Mystery Train” by Greil Marcus and “Beano” (comic, ’50s) and “Raw” (comic, ’80s) and “White Noise” by Don DeLillo and “Sweet Soul Music: Rhythm And Blues And The Southern Dream Of Freedom” by Peter Guralnick and “Silence: Lectures And Writing” by John Cage and “Writers At Work: The Paris Review Interviews” edited by Malcolm Cowley and “The Sound Of The City: The Rise Of Rock And Roll” by Charlie Gillete and “Octobriana And The Russian Underground” by Peter Sadecky and “The Street” by Ann Petry and “Wonder Boys” by Michael Chabon and “Last Exit To Brooklyn” by Hubert Selby, Jr. and “A People’s History Of The United States” by Howard Zinn and “The Age Of American Unreason” by Susan Jacoby and “Metropolitan Life” by Fran Lebowitz and “The Coast Of Utopia” by Tom Stoppard and “The Bridge” by Hart Crane and “All The Emperor’s Horses” by David Kidd and “Fingersmith” by Sarah Waters and “Earthly Powers” by Anthony Burgess and “The 42nd Parallel” by John Dos Passos and “Tales Of Beatnik Glory” by Ed Saunders and “The Bird Artist” by Howard Norman and “Nowhere To Run The Story Of Soul Music” by Gerri Hirshey and “Before The Deluge” by Otto Friedrich and “Sexual Personae: Art And Decadence From Nefertiti To Emily Dickinson” by Camille Paglia and “The American Way Of Death” by Jessica Mitford and “In Cold Blood” by Truman Capote and “Lady Chatterly’s Lover” by D.H. Lawrence and “Teenage” by Jon Savage and “Vile Bodies” by Evelyn Waugh and “The Hidden Persuaders” by Vance Packard and “The Fire Next Time” by James Baldwin and “Viz” (comic, early ’80s) and “Private Eye” (satirical magazine, ’60s – ’80s) and “Selected Poems” by Frank O’Hara and “The Trial Of Henry Kissinger” by Christopher Hitchens and “Flaubert’s Parrot” by Julian Barnes and “Maldodor” by Comte de Lautréamont and “On The Road” by Jack Kerouac and “Mr. Wilson’s Cabinet of Wonders” by Lawrence Weschler and “Zanoni” by Edward Bulwer-Lytton and “Transcendental Magic, Its Doctine and Ritual” by Eliphas Lévi and “The Gnostic Gospels” by Elaine Pagels and “The Leopard” by Giusseppe Di Lampedusa and “Inferno” by Dante Alighieri and “A Grave For A Dolphin” by Alberto Denti di Pirajno and “The Insult” by Rupert Thomson and “In Between The Sheets” by Ian McEwan and “A People’s Tragedy” by Orlando Figes and “Journey Into The Whirlwind” by Eugenia Ginzburg

The Underbelly Project

Uma estação de metro abandonada em Manhattan abriu ilegalmente em 2009 para que 103 artistas trabalhassem por uma noite cada. Ao final do projeto, a maior galeria de arte subterrânea do mundo foi fechada, sua entrada original removida. O Projeto Underbelly é um experimento de arte urbana que busca subverter o comercialismo que tomou conta de grande parte da cena de arte de rua.

Os artistas, que incluem Roa, Faile, Revok and Lister, trabalharam durante quatro horas sob a luz de lanternas, e não podiam entrar ou sair para trazer mais suprimentos em função do perigo de serem descobertos, o que poderia resultar em acusações criminais.

Quando os curadores Workhorse e PAC anunciaram o fim do projeto, o espaço não foi aberto ao público. Na verdade, o local permanece um segredo mantido pelo MTA (órgão responsável pelo metrô de Nova York), que fechou o espaço transformando-o, como o complexo de cavernas de Lascaux, em uma cápsula do tempo para futuras gerações descobrirem.

Leia mais no website do Gothamist.

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An abandoned subway chamber under Manhattan illegally opened for a year in 2009 allowed 103 select artists to paint for one night each. Then the largest underground art gallery in the world was sealed off from the world, the original entrance to the station removed. The Underbelly Projec is a mysterious urban art experiment that seeks to subvert the commercialism that has overtaken much of the street art scene.

The artists, including Sane, Swoon, Roa, Faile, Revok and Lister, worked for four hours each by candle lanterns, and weren’t allowed in and out to retrieve more supplies due to the danger of getting caught, which could result in serious criminal charges.

When curators Workhorse and PAC declared the project finished, there was no opening to show the work. In fact, the space’s location remains a secret kept by the MTA, which boarded up the space, making it, like the cave of Lascaux, a time capsule for future generations to discover.

Read more at the Gothamist‘s website.

The Last Breath Project

Londres é uma das cidades com maior número de construções/demolições no mundo, e desde dezembro de 2013 criadores de arte urbana, graffiti e instalações de arte se uniram para oferecer o que definiram como “embelezamento”, pré-demolições.

Sem permissão, eles invadem prédios, criam seus murais e apresentam exposições únicas com uma hora de duração. Para participar do próximo evento como espectador ou “emebelezador”, escreva para tom@lastbreathproject.co.uk.

Para mais informações, visite o blog do projeto.

Veja abaixo os vídeos feitos pelos artistas.

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London is one of the cities with the highest construction/destruction rate in the world and from December 2013 creators of urban art, graffiti, art installations have come together to stage a one-off “beautification”, pre-demolitions.

Without permission, they invade a building, create their murals and present temporary (one hour) exhibitions. To take part in the next event as an espectator or “beautifier”, write to tom@lastbreathproject.co.uk .

For more information, visit the project’s blog.

See below for the videos recorded by the artists.

This episode involves urban artists Bisser.

Last Breath II – with Phlegm / RUN / Christiaan Nagel from Last Breath on Vimeo.

This episode involves urban artists Phlegm, RUN and Christiaan Nagel.

Phlegm: The Bestiary

The Bestiary é uma instalação imersiva e em larga escala em madeira, argila e gesso do artista de rua Phlegm na Howard Griffin Gallery em Shoreditch, nos leste de Londres, que vai até o dia 04 de março de 2014.

Para mais informações sobre a exposição, por favor visite o site da galeria e veja abaixo algumas fotos tiradas no meu telefone.

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The Bestiary is an immersive and large scale installation in wood, clay and plaster by street artist Phlegm at the Howard Griffin Gallery in Shoreditch, East London, on show until 04 March 2014.

For more information about the exhibition, please visit the gallery’s website and see below for some pictures taken on my phone.

Everybody Street

Cheryl Dunn, Everybody Street, 2013

The Source (Evolving)

Após estrear na Tate Liverpool ano passado The Source (evolving), uma série de conversas entre o artista Doug Aitken com pioneiros de diversas disciplinas debuta nos EUA em Park City, Utah, no New Frontier do Sundance Film Festival. O programa  apoia e mostra filmes que desafiam estruturas de narrativa na contagem de histórias, encourajando novas experiências visuais.

Durante o Sundance The Source (evolving), uma série de conversas com pioneiros de diversas disciplinas, será apresentado em uma esrutura circular criada em colaboração com um dos entrevistados, o arquiteto David Adjaye. Vídeos da exposição serão projetados nas paredes internas e externas do prédio. Aitken também criou um website para abrigar as entrevistas, realizadas com nomes que até agora incluem William Eggleston, Ryan Trecartin, Richard Phillips, Paolo Soleri, James Murphy, Jack White, Mike Kelley, Devendra Banhart, Beck, Tilda Swinton, Alice Waters, e James Turrell. A exposição vai até dia 24 de Janeiro, mas Aitken planeja continuar atualizando o website com novas entrevistas indefinidamente.

Tradução livre de artigo da revista Interview.

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After premiering at the Tate Liverpool last year The Source (evolving), an ongoing series of  conversations between artist Doug Aitken  and groundbreaking pioneers from different disciplines, makes its U.S. debut in Park City, Utah, in conjunction with Sundance Film Festival‘s New Frontier. The program supports and showcases films that challenge and expand traditional narrative structures in storytelling in favor of entirely new viewer experiences.

Throughout Sundance The Source (evolving), will physically live in a specially-designed, 2000-square-foot standalone circular structure, created in collaboration with one of Aitken’s subjects, the architect David Adjaye. Six-channel video projections of the installation are projected across the walls of the building’s interior; the videos will also be projected onto the outer walls of the structure and visible from its exterior. Aitken has also developed a website to serve as home for the interviews, whose 22 subjects thus far include William Eggleston, Ryan Trecartin, Richard Phillips, Paolo Soleri, James Murphy, Jack White, Mike Kelley, Devendra Banhart, Beck, Tilda Swinton, Alice Waters, and James Turrell. Though the physical exhibition ends next Saturday, Aitken plans to continue to update the website with new conversations indefinitely.

Read the full article at Interview magazine.

TED talks: 4chan

Em 2003 Christopher “moot” Poole fundou o 4chan, um imageboard não censurado que lançou memes como o LOLcats e Rickrolling. Foi também de onde partiu um ataque hacker a um website de uma grande empresa de comunicação e ao menos uma campanha ativista no mundo real.

O vídeo abaixo mostra “moot” em uma conferência TED, traçando a história da subcultura mais influente da internet:

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In 2003 Christopher “moot” Poole founded 4chan, an uncensored online imageboard that lauched Internet “memes” such as LOLcats and Rickrolling. It was also the source of a high-profile hack of a mainstream media website and at least one activist campaign in the real world.

The video below shows “moot” at a TED talk in 2010, tracing the history of the web’s most influential subculture:

The Lost Lectures

Inspirado pelas séries de conferências TED e aplicando o modelo do Secret Cinema, The Lost Lectures leva as palestras do ambiente acadêmico para espaços artísticos em Londres, com planos de realizar eventos fora da Inglaterra.

Os locais das palestras são segredo e revelados apenas aos participantes com alguns dias de antecedência. Os próximos eventos acontecerão nos dias 22 e 23 de novembro, exibidos ao vivo e com palestrantes que incluem a feminista Caroline Criado-Perez, a blogger de moda Susie Bubble e Lauren Pears, criadora do primeiro café para gatos de Londres.

Para saber mais sobre o evento e assistir palestras anteriores, visite http://www.thelostlectures.com/#!/home.

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Inspired by the series of TED talks and applying the Secret Cinema model, The Lost Lectures take lectures out of academic settings into art-directed spaces in London, with a plan to stage events beyond the UK.

Locations are kept secret and only announced to ticket-holders a few days in advance. The next event will take place on November 22nd and 23rd, will be streamed live and speakers include feminist campaigner Caroline Criado-Perez, fashion blogger Susie Bubble and Lauren Pears, the creator of London’s first cat cafe.

For more information about future events and to watch past lectures, visit www.thelostlectures.com/#!/home.