Stupidity

GO TO HELL

All right, I’m off there, actually I’m pretty sure I’m there already.

How come ?

Now you’re asking. Well, because folks I’ve been meeting aren’t that sweet to me anymore. They’re smiling but they’re pretending. They’re beautiful but rotten inside. Feed with hate and jealousy. They’re laughing while staring at others fear. They’re looking at me, hugging me, sucking me until I realize I’m nothing but disenchanted. And when I get to this state of mind, I always observe the same particular process ; while leaving me as an empty soul, hunting for other naive opal, they’re forgetting their own weakness : stupidity. And God only knows how bad stupidity is on Earth. It’s machiavellian, dangerous and sadly, ordinary. Because its hidden and disguised with tricks that only few can detect, it’s a common fact experienced every day all around. And even though you see it, it doesn’t make you safe. 

What do you mean by stupidity ?

I mean stupidity in its very original sense. Silly enough to believe that absorb someone’s essence will make them feel stronger, will make them special. Well, it’s surely will- for a little while. But when (shall I say if?) they’ll understand that nobody but themselves can bring answers, they will crash down. These creatures are nothing but flavourless and pathetic copy of the ones they’re trying to look like to. And they’re everywhere-

Davide Manuli, The Legend of Kaspar Hauser, 2011

Ok, this is probably one of the illarious production you will enjoy on screen this year. Maybe it is because the unrealistic situations of this movie are over exagerated. Maybe it is because Vincent Gallo (who is playing two characters in the movie) increases the surrealistic potential of the senario, bringing us to a laughing crisis we haven’t experienced for a long time. Or maybe it is because we just enjoy to watch a movie which has a deep interest on non sens and which talk about electronic music- the youth essence for the last 20 years-. Who cares. It’s actually not thanks to the music itself (composed by the french Vitalic) that we love it. Probably more because of what its pointed out of our relation to music nowadays, the UFO’s calling at the beginning, Elisa Sednaoui’s astonnishing body and all the trip on electro music in a black and white decontextualized landscape. Its almost bringing us to a kid states of mind; while we were listening to a story that gave answers, poetry and understanding of life. A charming tale with a dad we would have loved to be ours.

Watch-Touch-Play
The exhibition DYNAMO opened few days ago at the Grand Palais in Paris. About 150 artists from all over the world are exposed in this huge show.
Focusing on kinetic and visual effect produced by light and the perception of the spectator, you will discover artworks from early XXth century as well as from modern and contemporary generation.
Masterpieces such as the Magic Mirror of Ann Veronica Janssens, the aluminium lentil of Anish Kapoor, the Light Corner room of Carsten Höller or Awakening from the American James Turrell, just to name a few, are part of this funny optic adventure.
Although the exhibition Neon (see http://up-and-around.tumblr.com/tagged/Neon for further details) that took place at La Maison Rouge last year was kind of close to the one we are talking about (since it pointed out the neon’s creations in art and you’ll see hips of these in the present show), the purpose was slightly different which let us truly appreciate the experience at the Grand Palais. Indeed, the show allows us to interact with the artworks as many of them are elaborated in accordance with the spectator and his place in relation to the artwork.
If you get lucky enough to get there before it starts to be over crowded, you definitely will find something to enjoy. Make sure you go inside the Daylight blue, sky blue, medium blue, yellow room created by Ann Veronica Janssens. The line is long but it’s worth it !
DYNAMO, Un siècle de lumière et de mouvement dans l’art, 1913-2013, from April 10th to July 22 at the Grand Palais, Paris.
http://www.grandpalais.fr
Img: Ann Veronica Janssens, Bluette, 2006, Brouillard artificiel, filtres colorés, 140 x 140 cm, Galerie Kamel Mennour, Paris, © ADAGP 2013

Watch-Touch-Play

The exhibition DYNAMO opened few days ago at the Grand Palais in Paris. About 150 artists from all over the world are exposed in this huge show.

Focusing on kinetic and visual effect produced by light and the perception of the spectator, you will discover artworks from early XXth century as well as from modern and contemporary generation.

Masterpieces such as the Magic Mirror of Ann Veronica Janssens, the aluminium lentil of Anish Kapoor, the Light Corner room of Carsten Höller or Awakening from the American James Turrell, just to name a few, are part of this funny optic adventure.

Although the exhibition Neon (see http://up-and-around.tumblr.com/tagged/Neon for further details) that took place at La Maison Rouge last year was kind of close to the one we are talking about (since it pointed out the neon’s creations in art and you’ll see hips of these in the present show), the purpose was slightly different which let us truly appreciate the experience at the Grand Palais. Indeed, the show allows us to interact with the artworks as many of them are elaborated in accordance with the spectator and his place in relation to the artwork.

If you get lucky enough to get there before it starts to be over crowded, you definitely will find something to enjoy. Make sure you go inside the Daylight blue, sky blue, medium blue, yellow room created by Ann Veronica Janssens. The line is long but it’s worth it !

DYNAMO, Un siècle de lumière et de mouvement dans l’art, 1913-2013, from April 10th to July 22 at the Grand Palais, Paris.

http://www.grandpalais.fr

Img: Ann Veronica Janssens, Bluette, 2006, Brouillard artificiel, filtres colorés, 140 x 140 cm, Galerie Kamel Mennour, Paris, © ADAGP 2013

Laure-Athénaïs GOUNOT

Drawings & Wonderings, 2009-2013

Nanie, as she’s called, is a young french women working on the winding of her imagination. While studying cinema or “how to become the next best director in the Hollywood industry” in Paris, she’s creating these odd fellows.

When you ask her how she ended up with ideas like that, she says « I don’t know men, I just thought he would look better with some kind of scarfs all over his skull ».

Well, he sure does. As much as he’s disturbing our peaceful research for beauty and sweetness. Cause that’s where all the interest of her works is: the awkwardness celebrated in a highly sleight of hand.

I wish you could see her, a tiny sexy lady, always on the top but with a sense of weirdness we love THAT much.

Stay tuned-

LOAP

HangOver

October 2012

It’s a very nice beginning for the young french LoaP. Thirsting for time, experimentations, and encounters, I would describe this guy from Normandie as a perfectionist prototype. The scientist community he belongs to as well as his, let’s say, moon side, draw his inspiration and feed a beat that kicks us out. Ya’ll catch in his music a little bit of the duality he’s working on daily.

How long did it take you to create that track ?

I thought bout it on the subway after a long night. It took me 3 hours to do it back home.

The one shot recording usually are the best right ?

You tell me ! (laugh)

Looking for a balance, his music is half way between the pragmatism of reality and the lightness of a boundless soul.

You got us, but hey, we got you too-

Kelly PAVAN

Gloves + Soul

August 2012

Kelly’s EP lately came up with Dharma (http://soundcloud.com/dharma-the-label/sets/dharma001/), revealing a great sense of creation which group together influences from electro and folk. If the songs don’t match all together (Alone in the Storm certainly is different) these groovy experimentations clearly turn the album as one of the summer revelation in the young french electro community.

With many bloggers, music addict & electronic hunter (such as the 106 of Rouen) after him, we should soon have the delightful pleasure to see Kelly live. 

I recently produced the best song of my entire career so far, someone told me few days ao. Listenning to this new fancy paire de gants, which perfectly mix a brooklyn vibes and a glamourous french touch, I just can’t imagine how brilliant is gonna be your futur in the matter of human feelings & relashionships exploration through your imagination.

I am very pleased to blog this new jewel, as always- 


Gerhard RICHTER
Study for Clouds (Abstract)

1970
Oil on canvas
100 cm x 80 cm          
« I don’t know what I want, I am inconsistent, non-committal, passive ;  I like the indefinite, the boundless ; I like continual uncertainty »
After London & Berlin, the impressive retrospective of Gerhard RICHTER just opened in Paris.
For good.
It seems like the Centre Pompidou finally succeed to organize a good show - Paris situation in contemporary art, thanks to Monumenta and a few people (like Jennifer FLAY who desesperatly tries to make the Fiac « something »), starts to climb the abyss she was drowning in since NY claimed she was the First AC Lady- Indeed, the tragic exhibitions Pompidou presents usually do not help France to understand contemporary world of art. I am not talking about the program itself, which sometimes can be questionnable, but mostly of the scenography which often are disastrous : you always get lost in the never ending galleries and it became an habit to start at the end of the show just because you followed the wrong way.
Anyway, this one is almost perfect. Maybe because the Tate Modern and the Nationalgalerie of Berlin was part of it. Maybe because Camille MORINEAU, the curator, chose to use a traditional (at least, understandable) direction : chronologic & thematic.
Of course, the artist presented is just astounding. The paintings and sculptures you will find are quite exceptional. RICHTER might be one of the nowadays rare painter. I mean an artist who do have a deep technique of what an oil on canva is (or should be ?). It is very interesting to see that even if he is an incredible figurative painter, he is also an abstract lover. And so, he represents a junction between old, present and avant-gardiste questions of Art. Those who are against abstraction and her somehow frightened universe, might appreciate the landscapes and portraits RICHTER created. Those who are fed up with what paintings use to bring (images, stories at a time photography wasn’t born) might love his « covering » series.
While on photography, RICHTER is very close to this medium. Almost all of his paintings are based on the wish to go back to photography through oil. Another way to make mediums and times crossed each other.
The uncertainty he speaks about reminds us that fuzzy state of minds aren’t necessarily synonym of self destruction. No matter what, where, who with we are living, we shoudn’t be scared of the unknown. It surely can reveal marvellous things.
Let’s get lost in these blurred masterpieces-
Gerhard RICHTER, Panorama, through September 24 at the Centre Pompidou, Paris

Gerhard RICHTER

Study for Clouds (Abstract)


1970

Oil on canvas

100 cm x 80 cm          

« I don’t know what I want, I am inconsistent, non-committal, passive ;  I like the indefinite, the boundless ; I like continual uncertainty »

After London & Berlin, the impressive retrospective of Gerhard RICHTER just opened in Paris.

For good.

It seems like the Centre Pompidou finally succeed to organize a good show - Paris situation in contemporary art, thanks to Monumenta and a few people (like Jennifer FLAY who desesperatly tries to make the Fiac « something »), starts to climb the abyss she was drowning in since NY claimed she was the First AC Lady- Indeed, the tragic exhibitions Pompidou presents usually do not help France to understand contemporary world of art. I am not talking about the program itself, which sometimes can be questionnable, but mostly of the scenography which often are disastrous : you always get lost in the never ending galleries and it became an habit to start at the end of the show just because you followed the wrong way.

Anyway, this one is almost perfect. Maybe because the Tate Modern and the Nationalgalerie of Berlin was part of it. Maybe because Camille MORINEAU, the curator, chose to use a traditional (at least, understandable) direction : chronologic & thematic.

Of course, the artist presented is just astounding. The paintings and sculptures you will find are quite exceptional. RICHTER might be one of the nowadays rare painter. I mean an artist who do have a deep technique of what an oil on canva is (or should be ?). It is very interesting to see that even if he is an incredible figurative painter, he is also an abstract lover. And so, he represents a junction between old, present and avant-gardiste questions of Art. Those who are against abstraction and her somehow frightened universe, might appreciate the landscapes and portraits RICHTER created. Those who are fed up with what paintings use to bring (images, stories at a time photography wasn’t born) might love his « covering » series.

While on photography, RICHTER is very close to this medium. Almost all of his paintings are based on the wish to go back to photography through oil. Another way to make mediums and times crossed each other.

The uncertainty he speaks about reminds us that fuzzy state of minds aren’t necessarily synonym of self destruction. No matter what, where, who with we are living, we shoudn’t be scared of the unknown. It surely can reveal marvellous things.

Let’s get lost in these blurred masterpieces-

Gerhard RICHTER, Panorama, through September 24 at the Centre Pompidou, Paris

Craig DAMRAUER
New Math
2010
I found this quote (shall I say definition?) quite interesting. It actually came up with about 249 others equations, most of the time about human relationships.
So many people, related or not to the art sphere think that modern art should not be called art. We all have heard before “this is not art, this is bullshit, my dog could do better…" so what?
The impact of modern art on our society always fascinate me. No matter if we understand it or not, it often makes us react strongly. And if it doesn’t, than I suppose we can say that it’s not good. Or at least not for us as a person. Cause that’s what is interesting from my window: be able to feel the artwork—or not.
So the question is not to say if a work of art is technically well produced or not (although of course it can be a plus) but to see if it produce any kind of reaction over ourselfes.
If you could admirate Olympia, back in the days, who can say if you would have loved it or hated it as the majority at that time? However, it is nowadays known as one of the most important artwork of the world. So if we stick to this exemple (which is one among millions others) we can say that the way we look upon art is dictate by the code of our society and the “culture du bon goût” that is related to the decade we are living in. It also proves that hate something reveals the interest of it.
Anyway, this “attempt to quantify the world using words and basic math" is simple and catchy. A great feelings sum up and way to bring back litterature lover and scientist together.
And please, if you feel like you can create something, do it-

Craig DAMRAUER

New Math

2010

I found this quote (shall I say definition?) quite interesting. It actually came up with about 249 others equations, most of the time about human relationships.

So many people, related or not to the art sphere think that modern art should not be called art. We all have heard before “this is not art, this is bullshit, my dog could do better…" so what?

The impact of modern art on our society always fascinate me. No matter if we understand it or not, it often makes us react strongly. And if it doesn’t, than I suppose we can say that it’s not good. Or at least not for us as a person. Cause that’s what is interesting from my window: be able to feel the artwork—or not.

So the question is not to say if a work of art is technically well produced or not (although of course it can be a plus) but to see if it produce any kind of reaction over ourselfes.

If you could admirate Olympia, back in the days, who can say if you would have loved it or hated it as the majority at that time? However, it is nowadays known as one of the most important artwork of the world. So if we stick to this exemple (which is one among millions others) we can say that the way we look upon art is dictate by the code of our society and the “culture du bon goût” that is related to the decade we are living in. It also proves that hate something reveals the interest of it.

Anyway, this “attempt to quantify the world using words and basic math" is simple and catchy. A great feelings sum up and way to bring back litterature lover and scientist together.

And please, if you feel like you can create something, do it-

Conrad KOFRON

Arby // Flag

These are great shots made by Kofron a while ago. I choose these ones as they clearly celebrating United-States through their framing, low angle-shot, colours, subjects…

Celebrating yes, but in a very special way. I like the omnipresence of the sky over the nation (the small flag in a never ending blue space) and the sense of humor you can appreciate with the dog as a powerful chief. Little Arby leader, you’re the exact reflection of American pride.

An interpretation of America executed with a fresh eye-