The German ZEIT Magazine published for their 8th issue in 2011 an editorial of Serbian Australian model Andrej Pejic lensed by fashion photographer Juergen Teller.
Andrej is one of the most demanded models at the New York Fashion Week this season where he is booked both men’s and women’s shows. That’s the particular fact. Being so androgynous and lacking of really strong and male facial features, he seems to be the option the fashion designer trust in.
Petra Cortright, vvebcam
HalfLife, Marco Brambilla
Petra Cortright’s work is nothing if not a cypher, but it certainly makes for alluring objects of interpretation. Cortright’s animated gifs, videos and still image pieces take their aesthetic inspiration straight from the lore of the internet, drawing on misspellings and trailing cursors and emoticons to form genuinely stunning experiences.
The result? A “low-res” and “fast” quality what makes her work so striking and if it works, it works.: “I try to be better at this but I am a really impatient person. Gifs and webcams are so fast, low file size, load fast, they are almost scraps. I like not having the commitment of working with hi def vid/images. It just sucks how serious you have to be, it requires too much thinking. Gifs are lil treasures of the internet, its so great when you stumble onto a huge unknown index that you hadn’t seen before.
HalfLife (Surveillance, Game Engine, & Garden Grove channels), 2002
Collection Metronome Foundation for Contemporary Art, Barcelona
HalfLife from Marco Brambilla’s own words
“The multi-channel video installation HalfLife juxtaposes surveillance footage of video gamers in cyber-cafés playing the popular video game, ‘Counter-Strike’, with a live video feed of the game they are playing. The surveillance channel shows their expressions from the cross-hairs’ point-of-view while the game engine channel captures their virtual actions inside the game-world. The virtual world of ‘Counter-Strike’ is re-photographed from a live video feed from each player’s point of view as they play against each other in the same environment or “map”. The gamers’ actions are recorded as they engage each other in various missions: when a character is killed off in the game, the corresponding surveillance footage of the real player disappears. The third channel films the players in a cyber-café in Garden Grove, California, where video surveillance systems were implemented by the City Council in 2004 in order to monitor the increase in gang violence.”
Last week, our close friend Harmen Liemburg had us for dinner in his home studio. It was really special to see his captivating universe. And check out Harmen the fancy teenager and his blowing 80s hairdo.
Pinar&Viola reveal the secret collection of scarf_whiz80
Diva Opaque is a collection of found images belonging to scarf_whiz80. This eccentric collection varies from snapshots, carefully manipulated pictures and skillful photomontages, all portraying veiled divas.
Scarf_whiz80 cherishes the veil in his very own perception. In contradiction with today’s sensational hijab-hype, scarf_whiz80 glorifies the headscarf. From silk to satin, from lace to chiffon, he manifests the veil as an object obscure, shielding beauty from the beholder. The images depict strong women who seem decided to keep their transparency unique to their private relations. Scarf_whiz80 idolizes these women as the Anonymous Guardians of Intimacy.
Pinar&Viola discovered the bewildering collection on the internet by accident, and fully embraced scarf_whiz80’s skillfully crafted uncanny vision.
In his collection, Pinar&Viola observe a critique on societal norms of gender, race, religion and sexuality, including destructions of stereotypes and ideologies.
With today’s expansion of identity politics and the booming prosecution of middle-class, narrow-minded morality in the discourses of popular culture and public policy, Pinar&Viola state the veil as the neo black.
Stained glass window design by Pinar&Viola for a synagogue in Amsterdam.
These stained glass windows depict the four Jewish matriarchs: Sara, Rebecca, Leah and Rachel. Each window, composed with Judaic symbols, tells the story of one of the matriarchs. The synagogue puts an emphasis on the importance of these four women in Judaism. It’s not very common to give the matriarchs a prominent place in a synagogue. Besides their presence in a synagogue, in general the depiction of the four matriarch is not common in Judasm neither.
It’s the second time that we’re posting a video of Mr. West. The first one, after seeing Civilization in The Standard Hotel’s elevator in New York, he commissioned Marco Brambilla for his viode Power, and Tom Kan for the second one. The simiarity between the credits sequence of Gaspard Noé’s Enter the Void and the typographical sequences of Kanye West – All Of The Lights ft. Rihanna, Kid Cudi video is evident.
Please see the article A soul drifting in neon limbo of Rick Poynor on the treatment of words and typography in the contemporary feature films, and focuses on Wes Anderson and Gaspar Noé.
A soul drifting in neon limbo
By Rick Poynor
Published in Eye no. 78 vol. 20 (text in full)
Even in an era as typographically aware as our own it is rare to find feature film directors who treat words and typography as an integral component of their work. Jean-Luc Godard’s oeuvre, especially the classic films of the 1960s, remains the benchmark against which all typographic film-making must be measured.
Only two contemporary directors, Wes Anderson and Gaspar Noé, use words and type to reflect their cinematic vision with any consistency, though their style and aims could hardly be more different.
Hipster or not, Anderson has an old-fashioned, almost literary, taste for chapter-like breaks in his films’ narrative, and his typography, generally based on Futura, also works as a form of self-branding. This elegant, imaginary Anderson-world has undeniable flair and humour, though the self-reflexivity is too whimsical to pose much of challenge.
Noé’s use of the word as a filmic device is much closer to Godard’s: he wants to disrupt and disturb. In his first feature, Seul contre tous (I Stand Alone, 1998), an alarming tale about a butcher at the end of his tether, which unfolds as a scathing, non-stop monologue, he introduces sections with inter-titles in huge capitals – ‘Justice’, ‘Morality’, ‘Living is a selfish act’. A warning that viewers have 30 seconds to leave the screening, followed by the flashing word ‘Danger’, prefaces one particularly gruelling sequence. Noé might be toying with the audience but the frenzied hammer blows of the lettering add to the film’s unnerving harshness.
In terms of placement, Noé’s use of type in his latest film, Enter the Void, could seem more conventional: he confines it to the beginning and end. Even so the type plays the same vital role – see also Irréversible (2002) – as a means of expressing the film’s dark vision. Enter the Void’s titles can be viewed online (UK DVD release is scheduled for April 2011) but the best place to experience them is with the film, on a big screen in a cinema, as an overwhelming fusion of image and sound.
The sequence, directed by Noé with design by the Paris-based Japanese art director Tom Kan, is brilliantly disorientating. From the first frame, it is like being seized by an irresistible vortex of brain-scrambling sensation and sucked down into the film’s chemically modified consciousness. The type fills the entire screen and the editing is precision-welded to the stuttering beats of ‘Freak’, a 2003 track by the English techno band LFO. The credits flash by so fast that it is impossible to absorb them all, though a few names register in the visual noise.
As a piece of graphic design, the titles are both crude and sophisticated. This is an area of tacky popular graphics previously visited for its experimental potential by the late P. Scott Makela, The Designers Republic and Jonathan Barnbrook.
Kan exploits every trick in the commercial lettering manual: drop shadows, bevelled edges, Gothic type, neon type, 1960s futurism, shattered letters, melting letters. Spliced together with Japanese characters and subjected to jittery filters and treatments, this maelstrom of words signals the delirious, immersive excitement of Noé’s Tokyo, a city of nightclubs, logos, adverts, neon, throbbing music, drugs and sexual sleaze, a place where spiritual compasses can easily spin out of control.
Enter the Void’s psychedelic spectacle of a young man’s soul drifting after death has divided audiences. Some see it as a work of exhilarating technical innovation; some find it overblown and tedious. Some type enthusiasts complained that the film failed to live up to its stroboscopic titles. This response seems not only to misunderstand how titles can condense and reformat a film’s themes, turning narrative detail into graphic shorthand, but also to overlook Noé’s broader use of typography in his work as prompt, goad and pseudo-didactic audience-baiter.
After the title sequence comes the single word ‘Enter’. Enter the Void aspires to be a door of perception and we have been invited, or dared, to venture inside. Not until the end is the phrase completed, when it transpires that the whole film is clamped, like a big queasy burger laced with hallucinogens, between great slabs of type. The words are not, then, purely functional elements that could be cast aside without changing anything. The type is an intrinsic part of the void’s texture and meaning.
By AMFI is the Statement Store of the Amsterdam Fashion Institute that exhibits and sells products of our talents; students, teachers, alumni and friends. It’s is a community working together with the industry and society. Every 3 months a new concept is made up and a new environment is created, with new products from both inside and outside AMFI. Every theme is organized and realized by our young AMFI professionals, often reflecting a current theme in school.
THE STORE By AMFI opens it’s new conceptual collection with Pinar&Viola’s Ecstatic Surface Design 2011, The Credit Card Collection. Every year, Pinar&Viola launch an autonomous Ecstatic Surface Collection which tends to be recognized as ‘haute couture’ of graphic design.
In the Ecstatic Surface Design 2011 Collection, the pseudo-realistic dream world that was created by the credit cards is depicted. Once the credit card was presented as the magical key to access dreams, now, in The Credit Card Collection, this piece of virtual money generator is depicted in the powerless ocean of debt.
Friday, 11 March 2011
AMFI Statement Store
Spui 23, 1012 WX Amsterdam
+31 (0)20 525 8133
Eric Yahnker is a contemporary artist born in 1976 in Torrance, California. His humorous, meticulously rendered graphite and colored pencil drawings and elaborate process pieces examine pop culture and politics. His work is represented by Ambach & Rice in Seattle, where he was included in an exhibition with Erwin Wurm and Raymond Pettibon in 2010.
He studied journalism at the University of Southern California before earning his BFA at the California Institute of the Arts in 2000. During his second year at CalArts he worked on the storyboard for South Park: Bigger, Longer & Uncut. After he graduated he drew and directed Seinimation, a series of short animated bonus features on DVDs of Seinfeld’s last four seasons.
This post is made possible by Job Wouters.