MIRE - inspirational art, photo, design, architecture, literature, illustration

We're moving

2011-02-23T02:23:00.001+02:00

That's right! We're moving to Tumblr due to image hosting management and also to promote easier and better.

The address, of course, remain the same.

For our RSS readers, please change the address here. The posts on this blog will be keep like that as an archive and eventually, I'm gonna move all to the final blog. Thanks so much for you patience and see you there!

See you there!

C.

Corinne Vionnet

2011-02-17T16:46:00.002+02:00

Where are all the photos going to? While walking in the biggest capitals and thousands of tourists (including myself) taking the same amount of photos of the same identical spot. Where are all this photos going to? Corinne Vionnet wonders as well and dig in the Internet to find tons of pictures from the same angle and merge them into one to show us a collective memory of the place. Photo opportunities is clever series that questions the propose of this media in an era of massive reproduction.

Via

Shelbie Dimond (interview)

2011-02-16T20:26:00.002+02:00

I can’t thank enough to Shelbie Dimond for let me share you her recent work among some words about it. I love her pure and strong vision of the world and you should definitely check her portfolio!

MIRE: Are you the main character of your fictions or just an element of the final composition?
Shelbie Dimond: I am definitely only an element of the final composition. These are all stories, and I am merely the story-teller.

M: How’s the creative process in your photo-diaries? Do you combine this images with other media like, let’s say writing?
SD: Sometimes. But I really like the idea of telling stories through images. There's room for a bit more imagination.

M: How important is the accident in your process?
SB: I wouldn't say it's important, rather that I've come to embrace it. All of the polaroid film out there is going to be expired, so instead of getting upset that my pictures aren't coming out crystal and perfect, I shoot for a dreamy/mystical/surreal setting. I've come to love and accept the fact, and I'm having a lot of fun experimenting with polaroid pack film and seeing what I cant get out of it. After being so pleased with the results, I go out of my way to find it.

M: Freedom, outdoors, tenderness, innocence, friendship are constant presences in your work, but I think the water is always there. Can you talk a little about your relation with that element?
SB: I'm so glad you noticed! I've always been fascinated with water. Growing up, I lived on a beautiful lake in Michigan. It was my dream to make a "tunnel house" so my family and I could all live together beneath the water (which, you've got to admit, an under water tunnel house would be rad). I spent so much time in the water, swimming, skiing, wakeboarding, wakesurfing, fishing, snorkeling- you name it. I loved taking baths, my hair would turn green from the chlorine because I would spend hours in pools. I've always loved everything there is about the ocean, the vastness, the tides, the waves, the creatures you could find, and my favorite, when a little bit of salt gets on your lips. To this day the fascination is still with me. My boyfriend and I take drives to the ocean every week, just to watch the waves. There's something about the way the water looks and feels when you just barely touch the surface that has captivated me ever since I can remember.

Shelbie Dimond

Holton Rower

2011-02-14T14:47:00.004+02:00

How cool are this dripping flowers made by Holton Rower!
Via

Dan Oara

2010-12-02T20:53:00.002+02:00

Hailing from Timisoara, Romania, Dan Oara is a contemporary photographer currently living and studying in London. Already trained in industrial design and cinematography, Oara has a strong sense of structure and composition within his work. Oara previously studied Film in Bucharest, and the influence of moving image is clear in his work. His portraits resemble the drama and flair of movie stills, with some strange, enchantingly static quality. The personalities of his characters rise to the surface and we, the audience, are given an immobile moment in time.

Oara's work has a simplicity and a purity – a directness which challenges and provokes the viewer. He primarily uses natural light in conjunction with colour to create beautiful images full of attitude, personality and stories. One of his main concerns is to bring out the personalities of his subjects, to help them understand different aspects of themselves through photography. There is a deep intimacy found in his photographs – a relationship between subjects, photographer and audience – and also the careful balance of vulnerability and strength. This tight rope of two polarities gives his work an emotional power that can't be disguised.

"I wish more people felt that photography was an adventure the same as life itself and that their individual feelings were worth expressing. To me, that makes photography more exciting,” he said once. There is something of Oara in every image he makes. Each painstakingly composed and lit photograph tells us something of the visual adventure he is creating.

Text by Clare Taylor.

Viniendo de Timisoara (Rumanía), Dan Oara es un fotógrafo contemporáneo que actualmente vive y estudia en Londres. Con educación previa en diseño industrial y cinematografía, Oara tiene un fuerte sentido de la estructura y composición en su trabajo. Anteriormente, Oara estudió cine en Bucarest y la influencia de la imagen en movimietno es clara en su trabajo. Sus retratos remiten el drama y el difuminado de los fotogramas de películas, aunque con una calidad estática. Las diferentes personalidades de uss personajes salen a la superficie y nosotros, los espectadores, recibimos la permanencia de un momento a lo largo del tiempo.

El trabajo de Orara tiene una simplicidad y pureza – una fuerza directa que reta y provoca al espectador. Basicamente, él utiliza luz natural en conjunto with color para creat hermosas imagenes llenas de actitud, personalidad e historias. Una de sus preocupaciones principales es sacar el carácter de sus modelos, ayudarles a entender diversos aspectos de sí mismos a través de la fotografía. Existe una profunda intimidad en sus fotografías –una relación entre los sujetos, la fotografía y los espectadores – además de un cuidadoso equilibrio entre fuerza y vulnerabilidad. Esta delgada línea entre polaridades confiere a su trabajo un poder emocional que no puede ser desdeñado.

”Me gustaría que mas personas sintieran que la fotografía es una aventura como la vida misma y que sus sentimientos personales merecen ser expresados. Para mi, eso hace a la fotografía más atractiva,” dijo el autor. Existe algo de Oara en cada una de sus imagenes. Cada una de sus fotografías está meticulosamente planeada para ofrecernos algo de la aventura visual que él está creando.

Texto: Clare Taylor.

This is it

2010-11-30T21:13:00.001+02:00

Recently discovered one of my favourite bars ever. It pretty much helps the concept and the design in charge of This is it, a collective of artists and designers that created a whole visual structure on DreamBagsJaguarShoes (London) as a temporary exhibition. And what a video (watch below)! I couldn’t take my eyes away and now I take all my friends there. I will never see my breakfast on the same way!

Recientemente descrubrí uno de mis bares favoritos de todos los tiempos. Todo gracias al concepto y diseño a cargo del colectivo de artistas e ilustradores This is it, que crearon toda la estructura visual de DreamBagsJaguarShoes (Londres) a manera de una exposición temporal. Además, tienen un video increíble (mirar más abajo) ¡Jamás volveré a mirar a mi desayuno de la misma manera!

Pablo Padilla Jargstorf

2010-11-25T00:31:00.003+02:00

I feel very lucky for the fact I could attend the show Time Capsules at The Gallery Soho, few minutes before they closed down. I met there Pablo Padilla Jargstorf, one of the participants of the exhibition and he took the time to talk to me about his work and its process. His sound installation, called Resonances of Things to Come, has different layers of approaching, either temporal and spatial. I feel terrible to be that descriptive, but since an important part of his work has to deal with the sound and the in situ experience, would be really unfair to write about something you can’t see on pictures.

Aside from the rest of the exhibition, Padilla Jargstorf made a small shed, a space on the gallery that would create a very isolate and personal experience for the visitors. Through a dim light, you can see how the floor has been covered with small mirror fragments while the wooden walls are full with framed pictures of rabbits and old houses on the country side. The floor has several microphones attached and any sound there is recorded, distorted and deferred on hidden boxers so the spectator realises that a sort of macabre echo accompanies the footsteps.

The author literally pervades his work with his own life (sidenote: he had to break 5 mirrors which means 35 years of bad luck… coincidentally his own age). Once I entered in the shed I couldn’t avoid the scary feeling that I was entering the artist’s soul. All those stimuli provoked on me many insane worlds related with children’s literature. Once inside, I was everywhere but in a gallery. Like the bunny that appears on a text in the catalogue, I was not sure if I could believe in my own perception: “Every single instant was happening at the same time, in the same space. Time was simultaneous. Space was palimpsest”.

Me siento muy afortunado por el hecho que alcancé a ver la exposición Time Capsules en la Gallery Soho, algunos instantes antes de que la cerraran. Ahí me encontré con Pablo Padilla Jargstorf, uno de los participantes de la expo, que tomó su tiempo para hablarme de su trabajo y el proceso. Su instalación sonora, llamada Resonances of Things to Come (Resonancias de las cosas que vienen), tiene diferentes niveles de acercamiento tanto espacial como temporalmente. No me gusta mucho ser tan descriptivo, pero ya que una gran parte de su trabajo tiene que ver con el sonido y la experiencia in situ, sería muy injusto escribir acerca de algo que no puedes apreciar tanto en imágenes.

Separada un poco del resto de la exposición, Padilla Jargstorf hizo un pequeño cobertizo, un espacio en la galería que crearía una experiencia muy personal y aislada. A través de una ténue luz, se puede ver como el suelo ha sido cubierto con pequeños fragmentos de espejos mientras que las paredes de mader están repletas de cuadros enmarcados con fotos de conejos y viejas casas de campo. Debajo del suelo están repartidos varios micrófonos y cualquier sonido causado ahí, es grabado, distorsionado y diferido en pequeños altavoces que han sido escondidos, de tal manera que el espectador se da cuenta de que una especie de macabro eco acompaña sus pisadas.

El artista impregna su obra con su propia vida de manera literal (al margen: tuvo que romper 5 espejos, lo que le significa 35 años de mala suerte… exactamente su edad). Una vez que yo entré en el cobertizo, no pude evitar el raro sentimiento de que estaba entrando en el alma del artista. Todos esos estímulos sonoros me trasladaron a varios mundos relacionados con la literatura infantil. Una vez adentro, estaba en todas partes menos en una galería. Como el conejito que protagoniza el texto del catálogo, yo mismo no estaba seguro de mi propia percepción: “Cada instante estaba sucediendo al mismo tiempo, en el mismo espacio. El tiempo era simultáneo. El espacio era palimpsesto”.

Branislav Nikolic

2010-11-24T18:05:00.003+02:00

Serbian artist Branislav Nikolic has a drawing blog that I’ve been following for a while and I have to say that I really admire his sense of space and synthesis on each one of his posts. It’s a tender mix between pictorial and graphic love for the landscape (sometimes outdoor, others domestic) reaching the highest form of simplicity on representation. With only some strokes, Nikolic creates a very particular and personal travel book that is a true delight.

El artista serbio Branislav Nikolic tiene un drawing blog que he estado siguiendo desde hace un rato, y tengo que decir que me encanta el uso del espacio y la síntesis en cada una de sus entradas. Es una tierna mezcla entre gráfico y pictórico amor por el paisaje (a veces exterior, otras doméstico) que alcanza la más alta forma de simplicidad en la representación. Con tan sólo algunos trazos, Nikolic crea cuaderno de viajes muy particular y personal que se convierte en una auténtica delicia.

Natalie Kaplan

2010-11-18T19:51:00.002+02:00

In a time full of political and economical conflicts all over, it’s time to stop and think if we’re living our reality as we really want to. Since long time ago, Art has been considered as a way to escape or avoid some immediate circumstances or even as a simple interpretation of what we consider a “quotidian life”. But nothing could be further from the truth: for people like Natalie Kaplan, Art is the reality (or many) itself. Her language tell us about a world full of absences, but not necessarily in a material way. She uses photography to show presences at the same time she hides them with a very subtle and seductive narrative. Her work is an excellent opportunity for let Art transform our lives so we can keep a critic attitude against impositions of all kind.

En tiempos en los que todo está lleno de conflictos políticos y económicos, es tiempo para detenerse y pensar si la realidad que estamos viviendo es la que realmente queremos vivir. Desde hace mucho tiempo, el arte ha sido considerado como una forma de escapar algunas circunstancias inmediatas o incluso como mera interpretación de lo que llamamos “vida cotidiana”. Pero nada más alejado de la verdad: para personas como Natalie Kaplan, el arte es una realidad (o muchas) en sí misma. Su lenguaje nos habla de un mundo lleno de ausencias, pero no necesariamente materiales. Ella usa la fotografía para mostrar presencias al mismo tiempo que las esconde con una seductiva y muy sutil narrativa. Su trabajo es una gran oportunidad para dejar que el arte transforme nuestras vidas y así poder mantener una actitud crítica en contra de cualquier tipo de imposiciones.

Student Mass Demonstration at London

2010-11-12T17:40:00.008+02:00

After being watching several street manifestations all over France during October, I was curious how the Britons would show their government how unhappy they are about the educational cuts. I tried to catch some protest banners, where usually shows the challenge to the authority in a humoristic way. The event had some material consequences, thanks to some student’s rage and and the lack of police presence.

Después de haber presenciado algunas manifestaciones callejeras en Francia a lo largo de Octubre, estaba curioso por cómo los británicos mostrarían a sus gobiernos su despecio a las medidas de recorte en la educación. Traté de capturar algunas pancartas que generalmente muestran el desfío a la autoridad de una manera muy humorística. El evento tuvo algunas consecuencias materiales, gracias a la furia de algunos participantes y la nula presencia policiaca.

Claudio Parentela

2010-11-10T01:17:00.000+02:00

Can’t take away my eyes from Claudio Parentela’s dynamic and risky portfolio. Ever since I received his submission, I’ve been digging his blogs and wacky sites which are packed with eschatological ladies and dark desires. You must have a look as well to an excellent selection of artists that he interviews every week for his blog.

No puedo desviar mi mirada de los dinámicos y voluptuosos trabajos del artista italiano Claudio Parentela. Desde que recibí su propuesta, he estado rascando sus loquísimos blogs y páginas que están llenos de escatológicas damas y oscuros deseos. Tienes que dar una ojeada a la excelente selección de artistas que cada semana entrevista en su blog.

Anish Kapoor

2010-10-23T17:03:00.000+03:00

I went to visit the series of sculptures made by sculptor Anish Kapoor at the Kensington Gardens in London. The 4 Sky Mirrors sculptures presented by the Serpentine gallery, are a live testimony of an art process in its purest state. Simplicity and strength combined with technique for an immediate sensorial impact.

Fuí a visitar la serie de esculturas hechas por el artista Anish Kapoor en los Kensington Gardens de Londres. Los cuatro Sky Mirrors (Espejos del cielo) presentadas en conjunto con la Serpentine gallery, son un vivo testimonio del proceso artístico en su estado más puro. Simplicidad y fuerza combinadas con la técnica para un inmediato efecto sensorial.

Fooooooam

2010-09-24T20:13:00.001+03:00

I had the placer to participate with the guys from Superbia for the Romanian Pavilion at the Venice Biennale of Architecture. Our part (in collaboration with Alina Bradu and Silviu Medesan) was a webart project that would take the Internet language and apply it to the context of the show: brand new Romanian suburbia and how that affects on urbanism. Taking an expansive metaphor, we called our project Fooooooam and its a sort of virtual walking that includes animation and photos and it's on continuous evolution. I'd love to read some feed-back!

Tuve el placer de participar con la gente de Superbia para el pabellón rumano de la Bienal de Venecia de arquitectura. Nuestra parte (hecha en colaboración con Alina Bradu y Silviu Medesan) fue un projecto online que toma el lenguaje del internet y lo aplica al contexto de la exposición: los nuevos suburbios en Rumanía y como eso afecta a las ciudades. Tomando una metáfora expansiva, llamamos a nuestro proyecto Fooooooam y es una especie de caminata virtual que incluye animación y fotos y que está en continua evolución ¡Me encantaría leer sus comentarios!

Venice Biennale of Architecture 2010 – Arsenale

2010-09-11T15:42:00.000+03:00

Olafur Eliasson. Your split second house (2010)

This is the second post about the Venice Biennale of Architecture I attended last week, but this time, focused on the works you can find now at the Arsenale and the Central Pavilion, where the director Kazuyo Sejima and her team set a presentation with the main topic of the Biennale: People meeting in Architecture. “The idea is to help people relate to architecture, to help architecture relate to people, and to help people relate to themselves.” Some other national pavilions where here too (including Golden Lion’s winner, The Kingdom of Bahrain). Again, more details about the credits can be found at the Biennale site.

Esta es la segunda entrada acerca de la Bienal de Venecia de arquitectura en la que estuve la semana pasada, sólo que esta vez, compartiendo los trabajos que fueron presentados en el Arsenale y el Pabellón central, donde la directora Kazuyo Sejima y su equipo montaron la exposición con el tema central de la Bienal: Gente que se encuentra en la arquitectura. “La idea es ayudar a la gente a relacionarse con la arquitectura, ayudar a la arquitectura a relacionarse con la gente, y ayudar a la gente a relacionarse con ellos mismos.” Algunos otros pabellones nacionales estaban aquí también (incluyendo el ganador del Golden Lion, el Reino de Bahréin). Una vez mas, los creditos de las obras aquí mostradas pueden encontrarlos en el sitio de la Bienal.

ARGENTINA:

The Kingdom of Bahrain:

Some rain and this girls trying to avoid it:

Liked those windows.

LUXEMBURG:

Venice Biennale of Architecture 2010 – The Giardini

2010-09-10T14:21:00.001+03:00

Last week I took part in the Venice Biennale of Architecture, presenting a webart project for the Romanian Pavilion at the New Gallery of the Istituto Romeno Di Venezia (with a Radu Cioca’s sculpture above). I did have time to visit the rest of the Biennale and take some pictures. I know might not be fare for the creators, but I don’t have all the information so I’ll write just the country and if you’re interested you can search for the credit at the Biennale site. Here’s my personal favourites from the Giardini, where all the national pavilions are (next post, I’ll share you the ones I made at the Arsenale).

La semana pasada tomé parte de la Bienal de Arquitectura de Venecia, presentando un proyecto de webart para el Pabellón rumano en la Nueva galería del Istituto Romeno Di Venezia (junto a una escultura de Radu Cioca, mostrada arriba). También tuve algo de tiempo para visitar el resto de la Bienal y tomar algunas fotos. De sobra se que no es justo para los creadores, pero no tengo toda la información a la mando, así que voy a escribir sólo el país y si están ustedes interesados pueden buscar por el crédito en el sitio de la Bienal. Aquí les presento mis favoritas del Giardini, donde están todos los pabellones nacionales (próximamente, les compartiré las fotos que hice en el Arsenale).

NETHERLANDS – Paises Bajos

HUNGARY – Hungría

ROMANIA – Rumanía

FRANCE – Francia

RUSSIA – Rusia

EGYPT –Egipto

BELGIUM – Bélgica

VENICE – Venecia

Gojin Ishihara

2010-07-27T18:52:00.000+03:00

It's not use to describe this wonderful collection of illustrations made by Gojin Ishihara in the 70's, compiled by PinkTentacle. So many things in this world make me that happy.

via

Tyler Bright Hilton

2010-06-04T11:35:00.001+03:00

I met the Canadian artist Tyler Bright Hilton last summer in an Internetless town of Croatia. We'd lots of time for chat and share ideas about practically any subject. Was that and the fact is a NAMBLA member -just discovered on his Bio today- that can explain my fascination for his wonderful drawings. I want to thank him for let me publish his whole Minmei Madelynne Pryor Went Into the Dryer series for MIRE readers. I'm looking forward to see the second part!

Chapter 1:
In which Minmei distractedly reads how many scoops of detergent will be required for her load while mourning the absence of her missing sock, lost to the mysteries of the dryer.

Chapter 2:
In which the answer to the mystery of the missing sock simply provokes deeper questions.

Chapter 3:
In which Minmei espies a floating pair of T'ang Dynasty slippers.

Chapter 4:
In which Minmei regards a set of steps not at all unlike those sometimes seen in Mario for Nintendo 64.

Chapter 5:
In which Marlon proves to be less scary than Minmei had at first believed him to be, and allows himself to be scooped.

Chapter 6:

In which Minmei is lead to Zebo, the terrifying guardian ghost dog with whom Marlon seems to be on disquietingly intimate terms.

Chapter 7:
In which Minmei sits down to a sumptuous meal whose makers remain unseen.

Chapter 8:

In which Minmei has three orgasms, each exceeding the other in both duration and quality.

Chapter 9:
In which a giddy Minmei skips down a hall to collect her best friend Caitlynne, and Marlon, disgusted by this turn of events, pilots home a Veritech VF 1J that he and Minmei had been doing aerial acrobatics in throughout the long morning.

Chapter 10:
In which our Heroine recalls the previous' nights delights.

Chapter 11:
In which Caitlynne is disturbed by Minmei's indifferent zeal.

Chapter 12:
In which Caitlynne is witness to a scene curious in the extreme.

Chapter 13:

In which Caitlynne squeals uncontrollably and at great length when Zebo makes it known that he does not at all approve of her presence.

Chapter 14:
In which Caitlynne has a most unpleasant time, and ruins dinner for everybody.

Chapter 15:

In which The Vivian Girls remove Minmei's misused slippers.

Chapter 16:
In which Caitlynne and Minmei do not agree, and Caitlynne dissolves.

Chapter 17:
In which Marlon performs a rather surprising service.

Chapter 18:
In which Minmei understands something crucial about The Whole Thing.

Chapter 19:
In which Minmei is relaxed.

Chapter 20:
C'est Fini.

Effer Lecébé

2010-06-01T13:59:00.001+03:00

No matter my eternal attitude against Political art, I find Effer Lecébé's collages and performances absolutely hilarious. An insane character that walks next to the most important political personalities and is the first to help the others (and appearing in the papers, too) on the World's misfortunes. As if we need another buffoon.

This self-called peacekeeper artist from Montgeron (France) plays with the odd idea that art can change other's circumstances, presenting a pathetic and cruel Utopia while disfigures his own (and ours) reality.

Unnatural History Museum

2010-05-30T12:58:00.001+03:00

Among random clicks, I got to the Unnatural History Museum portfolio and I was petrified by the fascinating pieces are shown there. The artist Jamie Fitzpatrick gives to his pieces an incredible energy that trivializes nature and gives these stuffed animals, many and ambiguous readings.

As Fitzpatrick says, “by commodifying the natural, these creatures (transgenic animals) are reduced to object and, as with mythical beasts of legend, subsequently reside closer to fiction than reality.” The Unnatural History Museum dissections are a hard comment to a decadent and scientistic society that rejoices watching itself with all its excesses.

This fantastic and rugged gallery offers the best for all tastes: tenderness, death, sex, mythology, injustice, humor, history and puffy animals.

Jonas Brandt

2010-05-25T20:06:00.000+03:00

By letting a natural charming in his characters, Jonas Brandt makes the viewers adapt themselves to his wisdom of freedom. The last wooden sculptures that he presented at the Metis_NL Gallery in Amsterdam, have a very particular view of a traveler's mind and heart that filled my soul with joy blossoms.

May the wind always take us closer to inspiring places like Brandt's and its aesthetic side of equilibrium.

refixx

2010-05-19T21:38:00.000+03:00

Sometimes the simplest things can make me very happy, just like Refixx's circles. His digital sketches are full colored and they have a penetrating energy is impossible to avoid.

Refixx (Osaka, 1982)

Sabine Timm

2010-05-18T19:24:00.000+03:00

Look . Look closer. Have you seen those lovely-tiny-vintage characters before? Sabine Timm call them and once they are close they look at you with their big eyes, just before she waves her fingers covered with golden rings and she shoos them in an elegant and amorous gesture. The delightful runway is not exempt from a melancholic feeling, but it's impossible not feel comfortable in this world.

When you least expect it, you are surrounded by chattering creatures and fans that want to know everything about them. Just then, she closes her book and you wonder how many hours how many hours you spent in that exquisite world.

This German artist just uploaded some videos of her sketch book. It is a delectable experience leaf through those pages and have a mayor idea of size, textures and colors of the drawings. Here a small selection:

Dream tourist

2010-05-08T16:26:00.000+03:00

You sleep until late. You wake up and float to the kitchen, being careful not to hit your head with the door frame. While you take your breakfast, you see some pictures in the coffee table and you recognize yourself on them. Smiles. Coffee sips. You love summer photos.

You skim through the pictures and suddenly stop, alarmed. What is this little character doing next to you in that photo? Why is he walking? Why is he smiling? You run to find a magnifying glass and confirm his presence in those improbable spaces. More coffee sips. Outside, the birds sing a tune. Is gonna be a long day.

Dream tourist is a project by Helene Chalindar (Stavanger,1981) and Rodrigo Solís (Durango, 1976) with diffuse boundaries and contrasted colors.

Sylvie Kořánková

2010-05-06T19:13:00.001+03:00

I discovered Sylvie Kořánková's breath-taking art last summer in Prague, when she presented her diploma project I don't have to like you, I just have to sell you. The book is a compilation of odd images about fashion world, where she presents delicate and innocent lines with a clever use of the space for enclose her characters.

Doing a little researching, it happens that Sylvie is a fashion model and lives that frivolous world from inside. Nothing more intriguing for me than a model that is used to be portrayed and takes some time to picture the others and her circumstance. I imagine her drawings as a war testimony, as if she were a reporter addicted to her bloody job: meeting horrible, grotesque people in bleak shops, showing the other face of elegance, dramatic poses, expensive cocktails, beauty cannons and the eternal faking. I'm pretty sure that Sylvie Kořánková uses her art as a secret tool for survive, as a caution to avoid being devoured by soulless people.

Rafael Bonilla Jr.

2010-05-02T12:26:00.002+03:00

At first, parallel worlds might horrify us for their familiar look, but after a few moments of meticulous attention is easier to recognize ourselves there. The images I've found in Rafael Bonilla Jr.'s Melting castle provide contrasting feelings that can be from repulsion to total admiration, but never -and here I'm pretty sure- indiference. He's got a fascinating spirit of experimentation with digital spaces and unusual narratives that surprises to the upside.

Rafael Bonilla Jr. (1987, El Salvador)