A short walk from Plaça Catalunya—a locale marking Barcelona’s pulsing city center—and just next to the stark Museu d’Art Contemporani de Barcelona (MACBA) with its crowds of skateboarders and young onlookers, you’ll find the Centre de Cultural Contemporània de Barcelona (CCCB). Tucked inside the front gates, a handsome courtyard offers an open-air cinema to all those who choose to arrive early for seats. This summer (August 3-August 26), as an extension to its current exhibition on Labyrinths, the CCCB has been offering a free film festival entitled Gandules 2010: Lost, Lost, Lost. continue reading on The Mantle by Corinne Goldenberg
Während der Militärdiktatur in Argentinien von 1976 bis 1983 verschwanden fast 30.000 Menschen spurlos. Der Fotograf Gustavo Germano gehört zu den Opfern des Staatsterrors. Er verlor seinen ältesten Bruder. Mit seiner Fotoserie zeigt er auf eindrückliche Weise, was mit einer Familie geschieht, aus deren Mitte plötzlich ein Mensch gerissen wird. Germano hat Familienfotos aus den Siebziger Jahren nachfotografiert mit den Menschen, die die Militärdiktatur überlebt haben. Manchmal fehlt ein Familienmitglied, manchmal gleich mehrere. Einmal ist nur das Kind am Leben geblieben, ein anderes Mal ist die Ehefrau alleine zurückgeblieben oder die Schwester, wie auf den Bildern links.
ENG // Series “Landmarks”
LANDMARKS is a project which sets up an anamorphosis made of light marks in the landscapes around Maribor. After selecting one landscape point of view she will keep until the end, the artist, assisted by her team, installs mirror systems according to pre-established brands, that reflect sunlight towards the lens. Various generic and geometric shapes then emerge from a commonplace landscape: a rectangle homothetic to the picture frame, a diagonal joining both ends. The areas reflected in the landscape are like so many areas of resistance, and the sunlight in its natural inclination is thus deflected and thereby transformed into a signal. The dialogue between the light source-the sun-and the photographer becomes in- timate and privileged, because only accessible from the view originally taken.
Rex Ray in the company of Elizabeth Peyton. Both contemporary modernists. When I watch Rex Ray his work there is a joy to it that is so fresh it makes me happy. Elizabeth Peyton is an artist who moves paint around like the rock stars she loves as her subjects. To me they both attack their craft with the passion of a person possessed. Just the way I like it.
