SOUNDS LIKE POWER TO ME…
SOUNDS LIKE POWER TO ME…
VIKTOR AND ROLF
I don’t need to explain these incredible collections nor interpret them, you might see glimpses of the Cubists, a few riddles, ironies and the nonsensical, regardless marvel in the human genius of our creative spirits….pretty darn kool.
and then turn this one up really loud, lay back and enjoy the purity of the entire collection, you might even weep it is amazing…it just gets better and better…
and notice how the artist is present in the first and last…what do you make of that?
IN this last fashion performance there is something about the ‘ordering’ of human and space in our daily life. The day is a contemplation as much as it is an interaction of forces, how we land and inhabit our human form and feeling in space, the memories a space contains whether they are of shared or isolated experiences. Space has lightness as much as gravity. I am engrossed less with the fashion here than I am with the construction of mood and invisible space.
Do you think about your relationship to space? How do you feel in open spaces vs tight spaces vs cluttered spaces vs highly ordered minimal spaces? Perhaps in heavy spaces we feel the lightness of being and in airy spaces we feel incredibly grounded…
Proximity to one another and isolation from one another takes on a whole other set of psychological implications and I am not sure DRESS has anything to do with that other than it can externalize inner pressures and expressions of the self in the variety of environments we move thru daily.
Fashion is often set by the costume designers in the film industry which influences a culture’s style. Sometimes ‘Film’ hires fashion designers like Jean Paul Gautier. Here is a list of extraordinary styles that don’t fit current fashion but at the time they were made bear iconic status.
The following is worth the watch, do you agree with the pickings?
C’mon The Wizard of Oz? Really? Don’t think so people!
What’s your favorite of all time costume in film?
I might have to go with ‘to die for’ Brando’s sweaty tee…
This is mesmerizing, creepy, both male and female, looks at you and knows you are looking back. A little too real. Watch the whole thing, it is unforgettable.
Do you find it attractive in a dark kind of way? Do you have a voyeur in you? What secrets does it share with you?
Chris Burden has a diverse range of art that taps into architecture, vintage collecting, TV commercials, extreme performances to name a few and as an artistic and influential figure he won’t be swinging by again in my lifetime. So I thought I would honor him here, as he passed recently. His thinking around boundaries of what he could and couldn’t do, his poetic engineering strategies in building structures and his full immersion into his art that perhaps came from his early performances in the 70’s, some of which you can see here http://www.vulture.com/2015/05/best-of-chris-burden-on-youtube.html are remarkable as much as they were bizarre. He was humble, funny and he confirms for me that an artist has the resources to ‘make’ from any stage in their careers. Below is a video that reveals his thinking behind the commercials he made. What I love about him is his intuitive honesty about himself as an artist and how a career that marries idea and living turns into a satisfying reality.
He will be an inspiration for so many of us in our years to come!
I just recently discovered Mari Velonaki an artist in emerging technologies and who is Director of The Creative Robotics Lab http://www.niea.unsw.edu.au/research/organisations/creative-robotics-lab-crl and Associate Professor at the National Insititute for Experimental Arts in Australia http://www.niea.unsw.edu.au/about .
Below is a robotic statue I think you will find impressive. She appeals to the physical senses a-typically, with virtually no signs of Classical Greek proportions. ‘Attractive’ in a mysterious way she forces us to understand her intuitively not logically. How strange for an entity of artificial intelligence don’t you think?
What I love about Velonaki’s use of new media in Diamandini, 2013 is that we see the moments from initial impulse to ‘connect’ with erratic moments of silence in the movement between human and machine. Movement being sensory directed is her dialogue with human. Even though this contact is in a state of potential and is thus unpredictable, the interactions are poetic. Imagine we are with Diamandini. I am convinced we would be immediately curious as to what is happening between ourselves and her together in a public space. She is by far so different from us. She is stiff like a porcelain doll and white as milk. She is a work in progress in that soon over the next few years other parts of her body will be less fixed and will perform with more motor control; for instance be able to touch.
As a figure I find her endearing, she has no language but feels like an innocent child roaming around new territory, carrying a trust into an unknown, vulnerable and socially unconditioned. Another feature of her in this stage which perhaps might change in her next phase is her neutral presence, like someone who ‘listens’ as if she hears the many unspoken conversations, or stories rambling through our head. Or even an uncanny ability to connect from a higher plane of consciousness, she is remarkable and so genuine.
Technology is like another kingdom of nature, it has been with us since we needed food, shelter and clothing. I think projects like Diamandini are a wonderful reminder about the way we use technology- to serve us or to consume us? Either way it has equal potential to destroy and be innovative on a human level.
After seeing the video what did you notice? How do you think you would feel if this girl in white were to follow you in a public space? Do you find her threatening, amicable or a non-entity?
You can learn more about Mari Velonaki here: http://mvstudio.org
STAY TUNED: Interview with Wylie Sophia Garcia coming up