We in da future now

Thomas Houseago

Thomas Houseago (b. 1972 in Leeds, Great Britain) is a contemporary visual artist. He currently lives and works in Los Angeles, California.

He is a figurative sculptor who uses lo-fi materials such as plaster^[1] and plywood.^[2] His work references genres such as Cubism and Futurism and plays on the history and tradition of statues.^[3]

Thomas Houseago studied at Central Saint Martins in London and the Ateliers in Amsterdam. After completing his studies, he lived and worked for several years in Brussels before moving to Los Angeles. During the past year, the work of Thomas Houseago has been shown in Glasgow, Los Angeles, London, Paris, Milan, Berlin, Arnhem (Sonsbeek 2008) and Brussels.

Thomas Houseago is represented by Hauser & Wirth.

2012

• Hauser & Wirth, London, England

2011

• The Beat of the Show, Inverleith House / Royal Botanic Garden, Edinburgh, Scotland
• What Went Down, Centre International d'art et du Paysage de l'Ile de Vassivière, Vassivière, France
• What Went Down, Museum Abteiberg, Mönchengladbach, Germany

2010

• What Went Down, Modern Art Oxford and Ashmolean Museum, Oxford, England
• Thomas Houseago: The Moon and the Stars and the Sun, Michael Werner Gallery, New York
• Giant Geiant, 2010, Art 41 Basel, on Messeplatz, sited directly in front of the buildings hosting the Art 41 Basel

2009

• Two Face, with Aaron Curry, Ballroom Marfa, Texas
• There is a Crack in Everything, That's How the Light gets in, Contemporary Fine Arts, Berlin
• TWOFACETWO: Aaron Curry & Thomas Houseago, VW (VeneKlasen / Werner), Berlin
• Ode, ZERO, Milan, Italy

2008

• Serpent, David Kordansky, Los Angeles, CA, USA
• When Earth fucks with Space, Xavier Hufkens, Brussels, Belgien
• Bastards, Herald Street, London, England

2007

• A Million Miles Away, The Modern Institute, Glasgow, Großbritannien

2004

• Art Brussels*, Solo-Präsentation, mit Xavier Hufkens, Brüssel, Belgien

2003

• Thomas Houseago, I am Here, Selected Sculptures 1995 - 2003, Stedelijk Museum voor Actuele Kunst (SMAK), Gent, Belgien

2002

• with Amy Bessone, Xavier Hufkens, Brussels, Belgium

2000

• Something to Be, Galerie Fons Welters, Amsterdam, Netherlands

1996

• Stedelijk Museum Bureau, Amsterdam, Netherlands
• Tattoo Mum's, with Matthew Monahan, guest curator Luc Tuymans, Si en La, Antwerpen, Belgien
• Selected Group Exhibitions

2010
“2010: The Whitney Biennial”, Whitney Museum of American Art, New York

2009
Thomas Houseago, Dieter Roth, André Thompkins, The Modern Institute/Toby Webster, Glasgow
Construct and Dissolve, Galerie Sabine Knust, Munich
Beaufort03. Art by the Sea, Blankenberge, Belgium
The Craft of Collecting, Museum of Contemporary Art, Chicago
California Maximalism, Nyehaus, New York
Beg Borrow and Steal, The Rubell Family Collection, Miami

2008
Black Swan, Michael Werner gallery, Projectspace, London, Great Britain
Academia : Qui es-tu ?, la Chapelle de l’Ecole des Beaux-Arts, Paris, France
Nobody Puts Baby in a Corner, Isabella Bortolozzi, Berlin, Germany
KABUL 3000. Love among the Cabbagesi, Galleria Zero, Milan, Italy
Sonsbeek 2008: Grandeur, Arnhem, the Netherlands

2007
Strange things permit themselves the luxury of occurring, Camden Arts Center, London, UK
Sculptors’ Drawings: Ideas, Studies, Sketches, Proposals, And More, Angles Gallery, Santa Monica, CA
Personal Belongings – Contemporary Sculpture from Los Angeles, Sabine Knust Galerie Maximilian Verlag, Munich, Germany

2006
Red Eye: Los Angeles Artists from the Rubell Family Collection, Rubell Family Collection, Miami, FL, USA
Making and Finding, The Foundation To-Life, Mount Kisco, NY, USA
Transformers, Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, NV, USA
The Glass Bead Game, Vilma Gold Project Space, Berlin, Germany

2005
Both Ends Burning, David Kordansky Gallery, Los Angeles, CA, USA
Six Outdoor Projects, L.I.U., Brooklyn, New York, NY, USA

2003
Passie in Beeld, Ruimtelijk werk uit de collectie van de Nederlandsche Bank, Maliebeeld, The Hague, the Netherlands
Group show/artists of the gallery, Galerie Fons Welters, Amsterdam, the Netherlands

2002
Stedelijk Museum in De Nieuwe Kerk, Beelden/Sculpture 1947-2002, curated by Rudi Fuchs, Nieuwe Kerk, Amsterdam, the Netherlands

2001
Rondom Jheronimous Bosch, Museum Boijmans Van Beuningen, Rotterdam, the Netherlands

1999
Glad IJs, Stedelijk Museum, Amsterdam, the Netherlands
Werk boven de bank, Archipel, Apeldoorn, the Netherlands

1998
Morning Glory, De Ateliers, Amsterdam, the Netherlands
Summer Show, Xavier Hufkens, Brussels, Belgium
Acquisitions 1997, De Nederlandsche Bank, Amsterdam, the Netherlands

1997
New Acquisitions, Stedelijk Museum, Amsterdam, the Netherlands

Vivenza

Jean-Marc Vivenza, né en 1957 à Vinay (Isère), est un philosophe, écrivain, et musicologue français dont les travaux se sont orientés vers l'ésotérisme. S'étant consacré tout d’abord à la musicologie, il fut également compositeur, chercheur en électroacoustique et théoricien du « bruitisme futuriste ».

                                 

Son travail sur le bruit se concrétise sous plusieurs formes, notamment... sonore. L’originalité de Vivenza est d’utiliser du matériel sonore industriel au sens propre du mot (machines, ouvriers au travail, usines) et enregistre dans des usines des sonorités industrielles réelles. Vivenza explique que le processus de transformation et d'organisation du tellurisme industriel nous plonge au plus profond de la matière domestiquée d'où surgit l'immense écho du langage de la terre, qui accouche du bruit qui est son langage, du bruit qui est son cri, son sens et sa forme. Ce concept de « matérialité objective du bruit » renvoie à l'esprit révolutionnaire du bruit et à l'emploi dynamique du bruit comme masse, comme essence physique où la matière affirme son existence. Le bruit est utilisé comme essence concrète, et Vivenza ordonne avec rigidité la fureur dynamique des bruits mécaniques, telle une cheville ouvrière du bruit organisé.

 

 

http://jean-marcvivenza.hautetfort.com/

http://www.rotorelief.com/artistes/vivenza.php

http://fr.wikipedia.org/wiki/Jean-Marc_Vivenza

Dogtown & Z-Boys [DOC]

Documentary about californian guys started using skateboard after surfing in the morning and revolutionize skating through their skills on the sea, passing from riding a wave to riding a swimming pool wall. They push skateboarding to the modern use of it.

FULL MOVIE - ENG - GER sub

Harry Bertoia

(born March 10, 1915, San Lorenzo, Italy — died Nov. 6, 1978, Barto, Pa., U.S.) Italian-born U.S. sculptor and designer. He attended the Cranbrook Academy of Art and later taught there (1937 – 43). He worked in California with designer Charles Eames before joining Knoll Associates in New York City in 1950. His achievements there included the Diamond Chair (commonly known as the Bertoia chair), made of polished steel wire and covered with elastic Naugahyde upholstery. He also produced "sound sculptures" that were activated by the wind and numerous works for corporations and public spaces.

FULL BIO ENG: harrybertoia.org
FULL BIO ITA: archimagazine.com

SONAMBIENT

MONOPRINTS

JEWELRY

FURNITURE

SLAVE STATE

Boris Dragos & Thomas Thorn
Early, short-lived, and influential US power electronics/industrial group that began in 1987. The band ceased upon the death of Boris Dragos (by suicide) in 1988.

The band released two cassettes, made a few live appearances, participated on an Intrinsic Action recording, and recorded three compilation tracks (one of which was, to the band's knowledge, never released -- nor was a backup made of the track).

An official Slave State publication, "Im Bau," was released though the band's own label Arbeit Group in 1987. It contained lyrics, graphics, and supplemental text to songs on the "Age Of Man" cassette, as well as information and ideas concerning other Slave State projects.

A C-90 collaboration with Sigillum S (entitled "Sex Structures") was intended to be released in Sept. 1988 on Arbeit Group. Due to Boris Dragos' death, however, this was never released.

Hardcore band from Buffalo
User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.

Gianluca e Massimo De Serio

Gianluca (15 dicembre 1978) e Massimiliano De Serio (15 dicembre 1978) sono due artisti e registi di documentari e cortometraggi italiani.

Gemelli, lavorano insieme dal 1999. Negli anni hanno prodotto vari film cortometraggi e documentari che hanno partecipato ai più importanti festival di cinema nazionali ed internazionali, aggiudicandosi numerosi premi.

Tra i film realizzati dai fratelli De Serio vi sono: L'Esame di Xhodi (doc, 62', 2007), Zakaria (cm, 35 mm, 2005), Mio fratello Yang (cm, 35 mm, 2004), Maria Jesus (cm, 35 mm, 2003), Il giorno del santo (cm, 35 mm, 2002).

Tra i riconoscimenti si ricordano: la pre-selezione agli Oscar per il Miglior Cortometraggio (2005, Los Angeles), la candidatura agli European Academy Awards (2006), il Nastro d'Argento per il Miglior Cortometraggio (2004), il Nastro d'Argento per la Miglior Sceneggiatura di cortometraggio (2005), il Nastro d'Argento per la Miglior Produzione di cortometraggio (2006), due candidature al David di Donatello per il cortometraggio (2005 e 2006), la candidatura al Globo d'Oro (2005 e 2006). Hanno vinto molti premi in festival di cinema internazionali, tra cui il Edinburgh International Film Festival (2006), Festival Internazionale del Cortometraggio di Oberhausen (2006), Internationales Trickfilm-Festival di Stoccarda (2005), Vendome Huesca (2005), Vendome (2005 e 2006), Festival Internazionale del Cortometraggio di Siena, miglior film italiano in pellicola per tre anni consecutivi al Torino Film Festival.

Tra i festival in cui i corti dei fratelli De Serio hanno partecipato vi sono:

Sao Paolo, Rotterdam, NICE, Tirana; Annecy cinema italien; Tampere, Finlandia; Tanger; London, Glasgow; Grimstad, Norvegia; Grezland filmtage, Borderlands, Selb, Germania; Sofia, Bulgaria; Roma; Amburgo, Belo Horizonte, Seoul, Santa Barbara, New York.

Il documentario L'Esame di Xhodi ha vinto il Premio speciale della giuria al Festival di Torino, 2007. Ha partecipato, tra gli altri, al festival Visions du réel (Nyon, Svizzera), al Montevideo Film Festival, Uruguay e al Festival del Cinema di Roma.

Numerose retrospettive sono state dedicate ai loro film, tra cui: Arcipelago Film Festival, Roma (2009); Museo de Arte Moderno La Tertullia, Cali, Colombia (2008); Contemporary Art Center di Tel Aviv, Israele (2008); Vendome Film Festival, Francia (2007); Institut National d’Histoire de l’Art, in collaborazione con Galerie Nationale Jeu de Paume, Parigi (2006); Galerie Nationale Maison Rouge, Parigi (2006).

Dal 2005 hanno anche partecipato a diverse mostre personali e collettive, con film e videoinstallazioni.

Tra le mostre: Manifesta7, Trento, 2008; T1-Triennale di Torino (2005), Biennale dei Giovani Artisti, Napoli, 2006.

Nel 2011 sono stati presidenti della giuria del concorso per giovani filmmaker Alpignano Let's Movie, ad Alpignano, nell'hinterland torinese.

Selezione mostre 

2009 

• Tactical Support, New York, Tracy Williams LTD.
• Report Video in onda dall'Italia, Galleria Comunale d'Arte Contemporanea, Monfalcone.
• Love, personale presso Guido Costa Projects, Torino.

2008 

• The Psychology of the Pawn, Participant Inc. New York.
• Videozone 4, The Center for Contemporary Art, Tel Aviv.
• Manifesta7, European Biennial of Contemporary Art, Trentino – Sud Tirolo, Italia, 19 luglio – 2 novembre.

2007 

• Rencontres international Paris-Berlin, Parigi, Berlino e Madrid, sedi varie.
• Neverending Cinema, ArteFiera, Bologna, Italy.

2006 

• Report numero 1, Video in onda dall'Italia, Galleria Comunale di Monfalcone, Italia. Curata da Andrea Bruciati.
• Neverending Cinema, Galleria Civica di Trento, Italy.
• Xavier Gautier et Sung-A Yoon, Haptic dans le vestibule de la Maison Rouge, Maison Rouge, Paris, France.
• Confini, MAN, Nuoro, Italia.

2005 

• T1. La Sindrome di Pantagruel, Fondazione Merz, Torino, Italy.
• XII Biennale dei giovani artisti dell'Europa e del Mediterraneo, Castel Sant'Elmo, Napoli, Italia.
• MakingMovies, Galleria Franco Soffiantino, Torino, Italia.

Chris Cunningham

Chris Cunningham is a British music video film director and video artist. He was born in Reading, Berkshire in 1970 and grew up in Lakenheath, Suffolk. Cunningham has had close ties to Warp Records since his first production for Autechre.

http://en.wikipedia.org/wiki/Chris_Cunningham

http://chriscunningham.com/

(All images and videos are copyrighted by their respective copyright owners)

Boney M. - Ma Baker 7" (1977)

Ma Baker 7" (b/w A Woman Can Change A Man) is one of the most successful european-disco hit of 1977 by Boney M. A side is a gangsta nightmerish-disco song also contained in the band's second album Love For Sale (1977), B side is less hardcore and more disco stereotype. Boney M. is a german singing-vocal group created by producer Frank Farian. The original line-up of the group were Liz Mitchell, Marcia Barrett, Maizie Williams and Bobby Farrell (1949-2010).

http://www.themagicofboneym.co.uk/

http://www.boneym.net/

http://www.discogs.com/Boney-M-A-Woman-Can-Change-A-Man-Ma-Baker/master/103265

(All images and videos are copyrighted by their respective copyright owners)

Kitaro - "Silk Road" series albums

Silk Road Journey is a Japanese documentary series for television. Its soundtrack is compose by several albums of japanese new age composer and multi-instrumentalist Kitaro (喜多郎).

http://www.kitaromusic.com/

http://www.myspace.com/kitaronetwork

http://en.wikipedia.org/wiki/Kitarō


Silk Road I (1976)

Silk Road II (1977)

Silk Road Suite (1980)

Tunhuang (aka Silk Road III, 1981)

India (aka Tenjiku or Silk Road IV, 1983)

Silver Cloud (1983)

(All images and videos are copyrighted by their respective copyright owners)

Mike Kelley

Mike Kelley was born in Wayne, Michigan, a suburb of Detroit, to a working class Roman Catholic family in October 1954. His father was in charge of maintenance for a public school system; his mother was a cook in the executive dining room at Ford Motor Company. In his early years he was involved with the city's music scene, which spawned bands such as Iggy and the Stooges, and was a member of the noise band Destroy All Monsters. Michael "Mike" Kelley (October 27, 1954 – January 31, 2012 or February 1, 2012) was an American artist. His work involved found objects, textile banners, drawings, assemblage, collage, performance and video. He often worked collaboratively and had produced projects with artists Paul McCarthy, Tony Oursler and John Miller. In 1976 Kelley graduated from the University of Michigan. He moved to Los Angeles in 1978 and attended the California Institute of the Arts, where he admired the work of his teachers John Baldessari, Laurie Anderson,David Askevold and Douglas Huebler. At that time he started to work on a series of projects in which he explored works with loose poetic themes, such as The Sublime, Monkey Island and Plato's Cave, Rothko's Chapel, Lincoln's Profile, using a variety of different media such as drawing, painting, sculpture, performance and writing. In the 1980s he became known for working with another type of material: crocheted blankets, fabric dolls and other rag toys found at thrift stores and yard sales. Perhaps the most famous work in this vein, More Love Hours Than Can Ever Be Repaid from 1987, featured a mess of used rag dolls, animals and blankets strewn across a canvas, a way of investing a fictional childhood scene with some visceral pathos. In 1988 Kelley created an installation called Pay for Your Pleasure, which featured a gallery of portraits of men of genius — poets, philosophers and artists included — subverted at the end by a painting created by a convicted criminal. In 1995, he produced Educational Complex, an architectural model of the institutions in which he had studied, including his Catholic elementary school and the University of Michigan in Ann Arbor. In 1999, he made a short video in which Superman recites selections from Sylvia Plath's The Bell Jar. Kelley was in the band Poetics with fellow California Institute of the Arts students John Miller and Tony Oursler. In 1997–98, Kelley and Oursler presented the Poetics Project at Documenta 9, as well as at venues in Los Angeles, New York, and Tokyo; through video projections, sound, and artworks, this installation re-created their experience at CalArts as members of a short-lived band. Along with his collaborations with Shaw and Oursler, Kelley was also known for working with artist Paul McCarthy in the 1990s. They collaborated on a series of video projects, including a 1992 work based on Johanna Spyri's classic children's book, "Heidi".A 1986 Massachusetts Institute of Technology presentation of Kelley's performance Plato's Cave, Rothko's Chapel, Lincoln's Profile (1985) included a live performance by Sonic Youth;^[10] the band later featured his orange-knit creatures on the cover and booklet of their 1992 record Dirty.^[11] In 2010, he combined with Artangel to realize his first work of public art in Detroit.In November 2005, Kelley staged Day is Done, filling Gagosian Gallery with funhouse-like multimedia installations, including automated furniture, as well as films of dream-like ceremonies inspired by high school year book photos of pageants, sports matches and theater productions.In December 2005, Village Voice art critic Jerry Saltz described "Day is Done" as a pioneering example of "clusterfuck aesthetics," the tendency towards overloaded multimedia environments in contemporary art. Kelley's work was inspired by diverse sources such as history, philosophy, politics, underground music, decorative arts and working-class artistic expression. His art often examined class and gender issues as well as issues of normality, criminality and perversion. Kelley lived and worked in various places in Los Angeles, among them the Farley Building in Eagle Rock. He was found dead in an apparent suicide in 2012.

Kelley began having regular one-man exhibitions at Metro Pictures in Manhattan in 1982, and at Rosamund Felsen Gallery in Los Angeles the following year. He subsequently started to gain recognition outside Los Angeles in the mid-eighties with the sculptural objects and installations from the series Half-a-Man. In 2005, he had his first solo show at Gagosian Gallery in New York City, which was representing him at his death. A retrospective, “Mike Kelley: Catholic Tastes,” appeared at the Whitney Museum of American Art in 1993 and traveled to Los Angeles and Munich; a second retrospective appeared at the Museum of Contemporary Art in Barcelona in 1997; and a third was at the Tate Liverpool in 2004.^[19] In 2006, his show "Profondeurs Vertes" was presented at the Musée du Louvre (2006). A major retrospective exhibition is being planned for the reopening of the Stedelijk Museum, Amsterdam, in 2012 which will travel to the MOCA, Los Angeles in 2014. The many group exhibitions he participated in include the Whitney Biennial (1985, 1987, 1989, 1991, 1993, 1995, 2002, and 2012), Venice Biennale (1988 and 1995), Carnegie International (1991), Documenta 9 and 10 (1992 and 1997), and SITE Santa Fe Biennial (2004). Kelley's works are included in major public and private collections, such as the Museum of Modern Art and the Solomon R. Guggenheim Museum, New York; the Broad Collection and Museum of Contemporary Art, Los Angeles; Tate Gallery, London; and the Museum Brandhorst, Munich.