“INDIA” – JOURNEY TO THE LAND OF MYSTERY AND WONDER
A SEVENTY-FIVE STRONG TROUPE OF MYSTIFYING ARTISTS HAILING FROM MANY REGIONS OF THE INDIAN SUBCONTINENT COME TO FRANKFURT AM MAIN UNDER THE PATRONAGE OF HIS HONOURABLE GAJ SINGH II, MAHARAJA OF JODHPUR, TO ENTERTAIN AND INSPIRE US WITH THE SPECTACULAR WORLD PREMIERE OF THE SHOW ‘INDIA’.
With help of superbly innovative stage technology, Prime Time Entertainment AG transforms municipal space in the centres of European cities into a magical tent village. The huge marquee, in the perfect illusion of a palace landscape, is where the bewitching Indian culture presents itself in a whole manner of new and exciting ways.
Upon entering this fabulous marquee world, it is easy to conjure up the great Maharajas of times gone by as ornate pile carpets, colourful Divans and furniture made of precious woods line the walls, floors and ceilings. You may take in different aspects of life at court by visiting themed rooms such as Sky Garden, Bengal Door, Banyan Lodge Himalayan Court, White Elephant, Emerald Room and also a lively bazaar before the big spectacle in the high Chapiteau begins.
The scene is set by a silently meditating Fakir sitting frozen on a bed of nails and the frenzied whirling dance of a glamorous eunuch. The lights dim, the drums begin to beat and out rush dozens of scantily clad, body-beautiful dancers all undulating to the sounds of Keith Levenson’s groundbreaking fusion of Indian and Western music.
The shows takes you on an awe-inspiring journey to the land of mystery and wonder through performances by fire jugglers, magicians, fakirs, contortionist and musicians; from the ape-men of Jogi who can shin up three meter vertical poles and hold spectacular gravity defying shapes to the mesmerising shadow puppeteer who creates a wonderful catalogue of animals with his bare hands.
The show has been designed by the world renowned Pascal Jacob, an expert in circus arts and Brian Burke who staged the legendary Las Vegas shoe ‘Le Reve’. The encounter with Indian myths and rituals, with dances and acrobatics is truly a work of art firmly embedded in the music, which combines traditional character with a modern soundtrack. This fascinating panorama of a world culture, which is marked by an aesthetical brilliance and erotic charm as well as by philosophical depth, is not to be missed.
“India” is at St Pauli Heiligengeistfeld, Hamburg until 3rd March 2010 then touring Germany and Austria throughout 2010-11
Words by Almaz Ohene
BAD ROMANCE
AS WE ARRIVE AT THE SECOND DECADE OF THE NEW MILLENNIUM, AGENT2 ASKS WHETHER WE ARE STILL A NATION OF ROMANTICS, OR IF ROMANCE REALLY DID GO OUT WITH THE RECORD PLAYER.
There was once a time where the term ‘in a relationship’ meant more than just a Facebook status. Love letters were as eagerly anticipated as the text messages of today, and Valentine’s Day was not just about the number of cuddly toys to pass through Clintons’ front door in the run-up to February 14. But today, it seems as though romance might just be exclusive to the chocolate industry and cinema’s rom-coms.
The likes of Jennifer Aniston and Cameron Diaz continue to repeatedly meet their soulmates in the most charmingly imperfect of circumstances on the silver screen – but in real life, even these honey-haired, perfect-pinned goddesses remain happily single. What hope is there for the rest of us if even the Anistons and Diazes of the world are existing on a romance-free diet? Today we are living in a time of technological revolution yet sentimentally, it seems that if romance isn’t dead, then it certainly lies in an intensive care unit somewhere, currently unresponsive to treatment.
Don’t get me wrong, the concept of romance is still alive and if not kicking, still twitching. It’s just that the concept of modern-day romance is all wrong. The Oxford English dictionary offers up, ‘A pleasurable feeling of excitement and wonder associated with love’ as its number one definition for the term. At no point in that definition does it say that romance should mean flowers, massive cards and stuffed toys. But each year, the commercialisation of Valentine’s Day and, ultimately, of love has led us to believe that the concept is really about nothing more than the giving or receiving of this miserable trio of Hallmark-crafted goods. OK, maybe Hallmark don’t make flowers but surely at this rate it’s only a matter of time before they do.
Anyhow I digress. This was not intended to be a rant at the money-making aspect of one day in the year; rather an argument that maybe in these modern times, the main ingredient missing in the love potion is actually a little bit of creativity and… feeling? Romance at its best is spontaneous, fun and reciprocal. Ladies, you can hardly be complaining that your man doesn’t spoil you any more when he is the one having to spend all the moolah and put in all the effort to make you happy.
A while ago, while standing in the queue of a popular lingerie shop, I was eavesdropping on the conversation of two fellow shoppers (as you do). Clearly, the best friend of some misguided girl was instructing said girl’s boyfriend into exactly how he should be treating her, starting with which presents to buy her. “Last Christmas, my boyfriend only spent £700 on me,” she bleated. “I nearly dumped him.” The poor sod went green.
First of all, if true, let me be the first to tell this man to grow a pair: £700 in the midst of a global recession? Either he’s a famous footballer or he thinks that not spending all his money each time an annual celebration rolls round is akin to telling his beloved that he just doesn’t love her any more. And I’m pretty sure that the girl queuing behind me was not Coleen Rooney.
Clearly this young lady was not of the belief that it’s the thought that counts. For our male readers, let me assure you that this girl is in the minority. I truly believe that most of us would rather spend a special day with the boyfriend, doing something away from the regular constraints of courtship, than rummaging through his pockets to find the receipts of his tokens of love.
Moving away from the material, something that has been lost along the years is the old-fashioned ways of expressing blossoming relationships – yet the sentiments remain the same. Royal Mail is no longer inundated with love letters between sweethearts, but a simple Facebook message tends to cause just the same reaction.
A first date might now be a quickie (drink!) down the local as opposed to a candle-lit dinner and dance, but you can bet your bottom dollar that at least one half of the potential couple will have spent just as long getting ready for the hot date as their ancestors did. And while gentlemanly customs such as holding doors open for and kissing the hands of their ladies might now be scoffed at, it’s unlikely that you will find many women who don’t want their boyfriend to get down on one knee when they eventually propose.
The world is getting older, its human inhabitants are still evolving and social concepts like romance are always going to be changing. As cave people, it was probably once considered quite romantic to hold a lump of ice to the head of the woman you’d just clubbed. Perhaps one day we’ll sit in our deckchairs with our trousers rolled up to our knees watching the sea levels rise, reminiscing about the good old days of the social networking site where romance was just a click away. Just remember that no matter what the shop display window might be telling you, you really don’t need a big pink teddy bear and a 5-feet-by-3-feet card proclaiming its love to you, to know that someone cares about you. Really, you don’t.
Words Sian Ranscombe
TIM BURTON EXHIBITION AT MOMA
TAKING INSPIRATION FROM SOURCES IN POP CULTURE, TIM BURTON HAS REINVENTED HOLLYWOOD GENRE FILMMAKING AS A SPIRITUAL EXPERIENCE, INFLUENCING A GENERATION OF YOUNG ARTISTS WORKING IN FILM, VIDEO AND GRAPHICS.
America’s premier modern art gallery, New York’s Museum of Modern Art, is hosting an exhibition of 700 drawings, paintings and sculptures and other paraphernalia – with pieces dating back to early childhood drawings- all by Burton. Following the current of his visual imagination right through to his latest work, the exhibition presents artwork generated during the conception and production of his films, his earliest non-professional films and student art.
In addition Burton’s entire cinematic oeuvre of 14 feature films will screen over the course of the five-month exhibition in the Museum’s Roy and Niuta Titus Theaters: Pee-Wee’s Big Adventure (1985), Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), The Nightmare Before Christmas (1993), Ed Wood (1994), Mars Attacks! (1996), Sleepy Hollow (1999), Planet of the Apes (2001), Big Fish (2003), Corpse Bride (2005), Charlie and the Chocolate Factory (2005), and Sweeney Todd (2007). His early short films Vincent (1982) and Frankenweenie (1984) will also be screened.
The exhibition will be at MoMA, New York from November 22, 2009 – April 26, 2010.
Burton is an acclaimed filmmaker, attending the California Institute of the Art. He was quickly drafted in to join the Disney animation ranks. But Burton was not suited to animation; they made him a conceptual artist. His concept drawings didn’t go down well as they were far too dark and twisted for the standard Disney fare. However, he soon set tow rok on his own projects. His early films were all mildly successful, but it was 1989’s Batman that made industry insiders sit up and take note.
Edward Scissorhands (1990) was the first time Burton had full creative control over a feature film; having written the story and also produced the movie. The film was a hit with filmgoers and critics alike, and, significantly, marked the beginning of Burton being taken seriously as an artist. His darkly surreal vision had returned audiences back to their own childhood vulnerability and in the process, created a modern fairy tale.
He has continued this tradition with stop-motion films The Nightmare Before Christmas (1993) and Corpse Bride (2005), none of which did anything to dispel the image of Burton as a slightly macabre figure. Having once said, “I’ve always been misrepresented. You know, I could dress in a clown costume and laugh with the happy people but they’d still say I’m a dark personality,” he is further than ever from shaking off his ghoulish image, if the title sequence of 2007’s winter blockbuster, Sweeny Todd: The Demon Barber of Fleet Street, is anything to go by.
Burton has also dabbled in poetry. His first ever film, Vincent, was in fact was based on a poem Burton had written himself. The short film tells the sad tale of Vincent Malloy, a suburban child who wants to be just like his idol, Vincent Price. Burton’s illustrated collection of poetry The Melancholy Death of Oyster Boy and Other Stories (1997), gave birth to a wide variety of loveably macabre characters, such as ‘Oyster Boy’, a baby born as an oyster because his parents ate one too many of the salty dish and ‘Stain Boy’ whose superpower is to leave behind a filthy stain.
These intriguing characters are sure to be an indication of what to expect from Burton’s artworks, with curators already hailing him ‘the next Warhol.’ Deserved praise? We think so.
Words Almaz Ohene
RAIF ADELBERG – ALL I HAVE ARE MY DREAMS
IT IS THE DAY BEFORE RAIF ADELBERG’S ANTICIPATED PHOTO SHOOT FOR THE AW09 LOOK BOOK FOR RAIF, THE CLOTHING LINE; MODELS ARE FLYING AROUND GETTING FITTED, MAKE-UP ARTISTS ARE LISTENING TO RAIF’S CONCEPT FOR HIS CLOWN INSPIRED SERIES AND HE IS LAUGHING WITH POTENTIAL COLLABORATORS, PASSING OUT CANS OF PABST BLUE RIBBON AND EXPLAINING HIS ART DIRECTION. THERE ARE NO VISIBLE SIGNS OF STRESS ON THIS HIS FACE. AND WHY SHOULD THERE BE? RAIF ADELBERG IS AN INTERNATIONALLY RENOWNED FASHION DESIGNER BORN TO A FASHION MANUFACTURER AND AN ART COLLECTOR. THIS LIFESTYLE, FULL OF COLOUR, CREATIVITY AND THE LAST-MINUTE RUSH, IS ALL HE KNOWS.
Image - Fiona Garden
Responsible for fashion lines RICHARD KIDD, Naked, RAIF, and Dead Boys Club House, his new body of work follows the pressure and anticipation you’d expect from a highly-acclaimed designer. Yet as he prepares to open ++ALL I HAVE ARE MY DREAMS++, his first photographic exhibition in London, Raif remains as calm and collected as someone you know this lifestyle comes naturally to.
Adelberg lives and breathes creativity. He claims that what he does is not work; it’s just what he does. And for this Canadian born trick-of-all-trades, the Railtown Studio in Vancouver, is where he does. Masterminding with clothes, words, paintings and photos, he is revolutionising the fashion industry. His production refines, fixes, recalls and erases bits of art and fashion history into something the artist /designer decides is a more truthful, personalised representation of popular culture.
Through art, design and photography he transforms a military jacket into a jilted lover’s revenge story called, ”REVENGE FUCK.” He illustrates an agency model with a clown face, draped in an American flag and crying black tears associated with prison time, and in “SEARCH & Destroy in DCBH,” he depicts Adolph Hitler laughing with a clown.
Every action, thought, word and image stems from his analysis on identity. He wants to characterise, through clothes, photos and paintings, what influences our identity and how we live within our own limitations; for each man, father, Jew, German, American, artist, and indeed, clothing designer. His work is giving the audience a depiction of humans and letting them interpret it as they will.
The canvas of tattoos that transform Adelberg’s body into a conceptual entity tells a story of his life and loves. Raif has used his own skin as canvas for his unbridled creativity; exhibiting his philosophy of life through illustration. Tattoos, like the high collars, ruffles and high-waist jodhpurs of Quentin Crisp and Oscar Wild, are a sign of self-worship; a defence against suffering and a celebration of life.
If all of this analysis is too heavy, the considerate artist adds levity to the depth of his emotion by fusing all the images together with pop music references, the greatest social equaliser. Examples include, “Baby I’m Amazed” by Paul McCartney, and, “In Dreams” by Roy Orbison, acting as inspiration for his photographic collection, ++ALL I HAVE ARE MY DREAMS++.
The amount of work produced at the studio from day to day is mind boggling. He allows for no separation between the artist, the designer, the clothes, the artwork; everything, including conversation, is approached with a curiosity and collaboration that characterises Raif’s creative process, saying himself: “Intensity is my normal resting place.”
The need to communicate and to make sense of life spills out of everything about Raif Adelberg. You get the feeling when you are in his studio that he is still looking for the perfect medium, one that
will satisfy his need to uncover life the way it is supposed to be lived.
An interview with Raif is next to impossible; the direct approach will take you in a circle of riddles. For any satisfaction or closure, you must answer the questions yourself, using his designs as inspiration for questioning, theorising and concluding.
He is asking you to be responsible for your own feelings, thoughts and ideas about what you see around you. And of course, to use his tools to make up your mind for yourself. He’s just making pictures, designing clothes and talking to people.
Words Maeve Doyle Editor Natasha Al-Atassi Images Raif Adelberg
DOYLE DEVERE presents:
+ALL I HAVE ARE MY DREAMS++ original photographs by Raif Adelberg
30 Ledbury Road, London, W11 2AB
Tel: 07889 182757
FASHION ON FILM
The fashion industry has long been the subject of much fascination. The recent spate of films charting the rise of designers and the day-to-day workings of fashion publications are set to be huge this summer, revealing what happens behind the scenes at some of the biggest names in fashion.
Fashion is considered to be one of the most glamorous industries there is and often forms the basis of TV shows and films. The Devil Wears Prada was centred around an assistant at a fashion magazine, The Hills’ Lauren Conrad and Whitney Port filmed many scenes as interns at Teen Vogue and fashion PR company People’s Revolution, Ugly Betty is set at the fictitious Mode magazine offices, Sex and the City’s Carrie Bradshaw famously wrote for Vogue and Sacha Baron Cohen’s comic creation Brüno is a fashion designer. That’s without mentioning the numerous books dedicated to the subject matter. Filmmakers have cottoned on to the demand for all things fashion and the next few months are set to see several releases of related films.
Coco avant Chanel (Coco Before Chanel) is the French-language biographic tale of the world’s most famous designer, Gabrielle ‘Coco’ Chanel, played by Audrey Tautou and directed by Anne Fontaine. The film, believed to be loosely based on Edmonde Charles-Roux’s book L’Irrégulière, follows the life of the two Chanel sisters as they work their way up the social ladder from young children dumped at an orphanage to Coco’s first forays into the fashion industry, working as a seamstress by day and a burlesque singer by night, and her ascent to the Paris A-list. There’s also a love interest intertwined in the tale, but as could only be expected from a film about legendary fashion designer, the outfits take centre stage.
The task of putting together Coco’s outfits fell to wardrobe designer Catherine Leterrier, who recreated many of Coco’s early looks as an impoverished young woman. Luckily, Chanel’s creative director Karl Lagerfeld cast a critical eye over Leterrier’s designs and approved her wardrobe choices for Coco, as well as allowing access to the label’s archive so that she could use authentic vintage pieces to complement a scene. This has culminated in a film worth seeing not only for its classic depiction of a rags-to-riches fairytale, but also for the fashion.
Coco Chanel is not the only designer to be hitting the big screen. Barbara Hulanicki is another fashion stalwart whose life is under the microscope in Beyond Biba: A Portrait of Barbara Hulanicki. The film focuses on the turbulent life of the owner of Biba, the fashion label synonymous with the Sixties which closed in 1975 after running into financial difficulties. Though the label relaunched in 2006, it was headed by designer Bella Freud instead of Hulanicki, who has quietly been working on various design projects in recent years, including a successful capsule collection for high street retailer Topshop. The documentary features the notoriously camera-shy Hulanicki herself, speaking candidly about her life. And she’s not the only one. Valentino: The Last Emperor is yet another documentary promising to reveal all about a designer. This time it’s the turn of Italy’s greatest couturier Valentino Garavani, a man so legendary he is known only by his forename.
So why are designers such as Hulanicki, who are usually keen to keep a low profile, deciding to allow the public and media such personal insights into their lives? Karl Lagerfeld recently appeared as himself in the documentary Lagerfeld Confidential, permitting French director Rodolphe Marconi to film him over a two year period for the purposes of the film. No areas were off limits; at Lagerfeld’s home, shopping in New York, photoshoots, his summer house in Biarritz. He spoke openly about controversial topics such as his homosexuality and allowed glimpses into both his world and that of Chanel. Normally, designers prefer to keep the media at arm’s length unless they have a collection to promote, especially those of Lagerfeld’s stature and charisma. So why did he choose to break with tradition and allow a film to be made about his world?
For anyone interested in fashion, the chance to discover what lies beneath Lagerfeld’s trademark sunglasses is an unmissable opportunity. But designers can be shrewd, and a documentary only lets the viewer in as far as the designer will allow. For a secretive personality such as Lagerfeld, who rarely gives anything away, even the most meagre titbits of information will be hungrily devoured by the media and dedicated fashion followers. And a film pending release is sure to drum up publicity for the designer and associated labels. Fashion is a secretive yet highly profitable industry, and documentaries are guaranteed cash-cows. Not that viewers will mind of course, as long as they get to see what happens behind closed doors at a prestigious fashion house and a generous helping of gorgeous clothes on the side.
Sound cynical? Take the forthcoming documentary The September Issue, the film based on the goings-on at US Vogue as the team prepare the September edition of the magazine. The focal character is of course the fearsome editor Anna Wintour, dubbed Nuclear Wintour due to her icy demeanour and silent chastisement of subordinates. Widely believed to be the inspiration behind Miranda Priestley, the fictitious editor of Runway magazine in The Devil Wears Prada, Wintour is credited with making or breaking the career of many a fledgling fashion designer. While you could be forgiven for thinking that the film would consist of 90 minutes of staff incurring her wrath, early reports have suggested that Wintour actually comes across as immensely likeable. But maybe that’s the plan. Wintour is a woman whose reputation precedes her, and when that reputation is as an ice queen, it’s understandable that she would want to change public perceptions.
This is not the first time Anna Wintour has allowed cameras to witness the inner workings of Vogue. CBS’ 60 Minutes with Anna Wintour already showed a more human side to her and sought to dispel the myths of working at the world’s biggest fashion bible. Whether The September Issue will endear viewers to her even further remains to be seen, but with a supporting cast including the Welsh ex-model-turned-Vogue creative director Grace Coddington, who has worked with Wintour for 20 years, and flamboyant editor-in-chief André Leon Talley, who also made a memorable guest appearance on The Hills, there should also be some amusing moments too.
It’s unusual to see so many fashion films released in such a short space of time, especially in cinemas, so fashion fans are in for a treat. It can’t be ignored that they will be a chance to see some extraordinary clothes- and characters.
Coco Before Chanel is released in cinemas on 31st July
Lagerfeld Confidential is available to buy on DVD now
Valentino: The Last Emperor is released on DVD on 8th September
The September Issue is released in cinemas 11th September
Check out our great DVD giveaway for the upcoming release of The September Issue here.
Words Kay Weston
HEAT, LIGHT, DEATH AND INDUSTRY: JOHN SQUIRE
I have a confession to make, I am a Heathen. I have ,for a long time, been some what sceptical of contemporary art and its derivatives. Questioning its nature as art and its deceptive meanings. However I recently went to Oldham Gallery to see the work of John Squire and found the gallery wasn’t talking but buzzing about what they saw before them.
Many will know Squire for his musical achievements with the Stone Roses, but all the way through his musical career he continued to paint. Constantly continuing his love for his secret passion, it wasn’t until 2004 that he stepped out of the shadow of the the ‘Roses and into the fire of solo artistry and exhibitions.
But after going to the Squire exhibition at Oldham Gallery I find myself somewhat drawn to the complexities of this deep form. What people often forget (including myself) is that contemporary art is experimental. A way of casting a side the old shackles of past art and creating something thought provoking and not self serving. In this exhibition Squire has used the form of boxes to possibly portray use (or misuse) of consumer packaging.
As Squires art provides very little background story for the pieces that you see, it means that the viewer must delve into the meaning of the piece and explore their own views of what they visualise. Some say that his work is about the use of consumer packaging, but I think it may be more than just that. Parts of his exhibition imply that perhaps we as a consumer society must change how we live our lives. And that is the beauty of this exhibition it provides open interpretations.
For some of the pieces squire had to learn to weld which left him in hospital twice and with numerous scars and burns. And through out the exhibit the more you look the more you realise the work and time that has gone in to this. Thousands of intricate patterns on canvas and large 8ft high rusted steel boxes show the thought and effort of a man who is constantly trying to find the other side of his art, challenging himself to engage the viewer. When you know the artist has to go to such lengths for his art it pushes the viewer to give that respect back to him by taking the time and the effort to think deeply and objectively about the art.
After being to the exhibition I am forced to bow my head and admit my ignorance in these matters. Experimental art is neither controversial or dangerous. It is the view of art from the other side of the mirror. At first glance its always hard to judge the merits of anything let alone art. If you give it the time it deserves then perhaps you will understand that it can be thought provoking and even beautiful. Squires art is both at times, and I would encourage anybody to take the time to go to the Oldham Gallery and watch in quiet reflection.
So John I’m glad your not going back to the Stone Roses, keep us entertained by keeping us thinking.
The exhibition runs until September 5th at Gallery Oldham
Oldham Cultural Quarter
Greaves Street
Oldham, OL1 1AL
Tel: 0161 770 4653
Words Kehlan Kirwan
WALKING IN MY MIND – YAYOI KUSAMA
Most artists are famed for their eccentricity, and Yayoi Kusama is no exception. She has created over 50,000 works during her fifty-year career as an artist, all centred around polka dots.
From 23rd June until 6th September, Kasuma’s artwork will be on show as part of a collaborative art project at the Hayward Gallery in London, featuring the works of nine other international artists, including Thomas Hirschhorn, Bo Chrisitian Larsson and Jason Rhoades. Trees on London’s Southbank will be adorned with Kusama’s beloved polka dots for the ‘Walking In My Mind’ installation exhibition.
In celebration, a limited edition collection of polka-dotted urban gnomes- a quirky take on the garden gnome- have been produced by Vitamin Living for the Hayward Gallery, and will be on show throughout the duration of the exhibition. This will take place in the indoor spaces of the gallery and on the outdoor sculpture terraces, which will be turned into a series of gigantic sculptural environments to represent an artist’s individual mindscape.
The inspiration behind the polka dots comes from unique visions which Kusama began seeing at the age of ten. She has described seeing dots, nets and violet flowers, or ‘infinity nets’ which covered everything she saw. These vivid images, which Kusama has termed her “repetitive vision”, saw her referred to a psychiatrist. It was he who encouraged her to translate her hallucinations into artwork. And that was precisely what she did, initially in the form of paintings as a student at the Kyoto Municipal School of Arts and Crafts and then later as installations, turning her into an acclaimed artist in both her home country of Japan and in the US.
Kusama has since turned her attention to many projects, including film, fashion design, writing and poetry, following a long spell living in the US after she struck up correspondence with the American artist Georgia O’ Keeffe. Though she wasn’t financially successful there, her work began to get noticed by the art crowd and collectors after her provocative works appeared in galleries. Her work has been labelled as avant-garde, pop art, Art Brut and surrealist. Her works are all of these and much more. In November 2008 a painting of Kusama’s was sold at the record-breaking price of $5, 100,000; a record for a living female artist, and in 2006 became the first Japanese woman to win the Praemium Imperiale, a Japanese award that recognises the talents of international artists.
Since 1973 Kusama has been living voluntarily at a psychiatric hospital Tokyo. She is still plagued by the visions that inspire her work, as well as the suicidal thoughts stemming from her childhood which have accompanied her through to adult life. Her studio is just a short distance away from the hospital, and Kusama has long claimed that had it not been for her art, she would have killed herself years ago. Yet at the age of 80, outlandishly dressed and with a striking collection of brightly coloured wigs, she shows no sign of giving up just yet, refusing to even consider retirement.
“Walking In My Mind” is an apt name for the exhibition in London. Because for Yayoi Kusama, that is precisely what her art is. And it is a fascinating place to be.
Exhibition lasts until September 6th. Click here to purchase advance tickets.
Words Kay Weston Images Vitamin Living/Hayward Gallery
LONG AND SHORT OF LATITUDE
It’s the height of festival season again, and this years Latitude Festival is gearing up to be quite the weekend. From Thom Yorke to the Phenomenal Hand Clap Band ( yes you read that right), it seems this years festival is pushing the meaning of the word diversity.
Before Henham Park in Suffolk ever hosted a Festival it had on average 150 visitors a year. So when the Latitude Festival launched in 2006 this sleepy part of the world had 50,000 people thrust into its midst. This festival is a must for any festival lovers, a true testament to musical and artistic unorthodoxy. A festival in the truest sense of the word.
In total there will be 15 stages running all weekend, which facilitate music,comedy, poetry,films and there is even a children’s arena in case you want to bring the saplings out to the Henham woods. Within in this artistic circus there is of course the acts. And this year its hard to see who exactly is the headline act to see. Thom Yorke from Radiohead will be an obvious crowd puller, while he brings his new solo projects to the masses. While Nick Cave,The Doves, Pet Shop Boys and Grace Jones are but a few of the others making appearances. Along with them comes the rubber stamp of festival kingdom as the BBC have turned up again and created there own stage to be present music and go live on Radio 2, 4 and 6 over the weekend.
Latitude will be, as most festivals are on these isles, compared to the blockbuster of Glastonbury. But latitude has something more, something different to offer people. Poetry, Books, Comedy and Cabaret, all of which have there own separate stages. This gives the festival goer a true arts experience. Such concentration on diversity combined with stages which are intimate and close to the people is an experience that is almost personal. Of course it may never reach the heights of its Somerset sister but it has originality and an artistic depth which goes beyond the brashness and showmanship of Glastonbury.
The festival doesn’t just give you art and music, it lets you produce your own festival by what you like. Where else could listen to poetry and then watch Ed Byrne doing his comedy set and move on to the Pet Shop Boys. Latitude has a variety of faces that you need to and enjoy. The earl who owns the land had a family motto which was ‘ I live in hope’ to which he added ‘ We fight like Lions and breed like rabbits’, which tells the whole story of how this is a serious festival inviting you to relish its overt jollity and escapades.
Latitude Festival – 17th to 19th July 2009
Words Kehlan Kirwan
EDINBURGH FILM FESTIVAL 2009
This week sees the launch of the Edinburgh International Film Festival, which runs till the 27th of this month, and as ever it not with out its charms or controversy. Finding its origins as far back as 1947 the Edinburgh International Film Festival with an emphasis on finding new talent and innovations, has grown into a world renown celebration of original cinema. Making the headlines this year are a series of movies which move from the psychological to Sci-fi and the movie industries narcotise, fame and fortune.
Without a doubt this years most talked about movie at the festival is Antichrist, which features William Defoe and Charlotte Gainsbourg. Already shown at the Cannes Film Festival the movie received great acclaim as well as sheer disgust because of the explicit scenes of sex and self mutilation. The movie follows a couple who, following the death of their son, go to their mountain retreat which they call ‘Eden’. Their mental anguish soon gives way to intense physical violence.
Director Lars Von Trier said, when asked about the movie: ‘I’ve made this little film, which I’m quite proud of, for me. I don’t think I owe anybody any explanation’. Absurd and undeniably fascinating Antichrist is set to stun audiences all over again.
In juxtaposition to Antichrist comes a wonderfully funny movie from upwardly mobile director Sam Mendes (American Beauty;Revolutionary Road) called Away We Go. Verona (Maya Rudolph) and Burt (John Krasinski) are parents to be, but have no idea where to bring up the little bambino. So leaving it to fate they go on a road trip to see what they can find- and they find much more. Brilliant comedy moments are provided by the quirky and some what ridiculous people they meet along the way. The result is a brilliant look at the trials and tribulations of would be parents.
A stunning performance by Sam Rockwell in the sci-fi movie Moon ensures that this could be ‘the little movie that could’ for this year. After spending three years alone in space with an eerily loyal computer, voiced by Kevin Spacey, Rockwell’s character- Sam- slowly begins to have fits of paranoia. With no great computer graphics or beady eyed aliens to invade this space movie, Rockwell’s performance must hold up the whole movie on its own. But his performance pulls you into his slowly maddening world which will make you feel just as trapped as he does.
Finally, Rudi & Cursi, a Mexican movie which examines the relationship between two brothers obsessed by football and fame. Spotted by a talent scout, soon the boys are playing top flight football. But with their new found fame comes the darker side of the bright lights. Gambling, cocaine and friendly parasites combine to slowly destroy the boys dreams, they have so longed for. Wonderfully performed by Gael Bernal and Diego Luna, the performance could also be semi-biographical as the two actors also shot to fame in 2001 with Y tu mama Tambien, making them stars virtually over night. Personal experiences or not, the movie has all the brightness of Latino spirit and all the darkness of its underbelly, providing yet another tick next to the ever growing prowess of South American cinema.
Words Kehlan Kirwan
LORENZO PETRANTONI IS NOT ALL BLACK AND WHITE
Lorenzo Petrantoni was born Genoa, Italy in 1970. He graduated from graphic design school in Milan, he later worked as an art director for Young & Rubicam in France before finally moving back to Italy, where he lives and works today.
After creating numerous advertising campaigns for international companies, collaborated with world-renowned magazines and displayed his work in various exhibitions all around the globe, here’s are his thoughts on using black and white, materialism and professionalism.
AGENT2 are so enthralled by the monochrome but modern and creative style of Petrantoni that we just had to to hear what the man himself had to say about his work.
Would you tell us something about your earliest influences, how you came to an appreciation of design and how you moved into design as a profession?
I think that it is my passion for voyages, knowledge, contemporary arts, the influences and events of the 1800s that give me the drive to design.
How would you describe your work/style to first-time viewers?
My works are encyclopaedic collages of 19th century dictionaries, put together following aesthetic rules, which spring from my love for graphics.
When did you start using black-and-white for your work and why?
All my images have always been black-and-white and I don’t really know why. Maybe I should ask a shrink!
How do you make the achromatic colours black and white interesting?
It depends on how you use black and white – if well used, they can be stronger than a rainbow.
Many see black-and-white as nostalgic. What’s your take on that?
It depends on the use of the graphics and their meanings. For me, black-and-white is timeless – my works, starting form others’ works made more than 100 years ago, are always timely, thanks to black-and-white.
Black-and-white is enjoying a revival. In your opinion, why is that?
For me, it doesn’t need any revival. As long as you love it, you don’t need to have public consensus since it is evergreen.
Black-and-white has been featured in every medium. In which one is it most powerful?
I think that print is the best medium – in the old books I study for my works, there are images that are really, extraordinary, and you could spend hours fixing them and discovering new details. Thus, black-and-white is perfect on a static medium. The encyclopaedia is my example.
Who epitomizes black-and-white?
For me, everyone who puts love into their own black-and-white epitomizes the black-and-white spirit.
Why did you choose illustration as your design medium?
I chose illustration as my design medium because of my deep and strong love for graphics. A lot of characters I use are completely unknown, but they’re still full of charm to me.
French dictionaries and encyclopaedias are your influences. How do you breathe new life into these ‘old’ items?
I love giving new life to images and characters forgotten and buried in dusty libraries. I think the past can be a great source of inspiration for modern works.
You try to fight materialism – how does this translate into your work?
It works in the sense that my works transmit feelings and emotions, even if I don’t represent them. I want to make an impression, not with strong images, but with strong and powerful compositions.
You recently collaborated with Nike for its Chinese press campaign. Can you tell us a bit about that project?
The work was very intense and really passionate. The campaign won a lot of prizes and these were the gifts for working with a perfect, professional team. There are two subjects – for the first, the protagonist is fire, and for the second, iron. For both subjects the power comes from the interaction of [tennis-player] Sharapova’s full-colour pictures with my black-and-white work. Her body and my illustrations interact so well that you cannot say what is old and what is new, you can just feel the intensity of the image.
What are your future plans? Are you working on any particular projects right now?
I’m working on a book that will be published later this year. It comprises 80 pages of illustrations in which my adventures in the world of graphics are resumed.
Words Vincent Bernier
