GRVE by Dianne Manjarrez

MÉXICO 3

CINETONALA.MX

Visita el Museo Jumex 5

Forma parte de nuestro equipo de voluntarios. Gana experiencia Desarr贸llate http://museotamayo.org/educacion

EDITORIAL

Poco a poco te irás abstrayendo de la cotidianidad del momento, y en vez de subir, te enterrarás. Escarbarás hasta llegar al negro profundo, donde yace todo, a donde todo vuelve, el comienzo y la parte última de la existencia del conocimiento. Entrarás en un estado de obscuridad casi absoluta que recibe también la ausencia del tiempo y del espacio. Eso es GRVE, un camino de experiencia editorial que se forma por una lógica de adentramiento; de un “poco a poco entierro el conocimiento” y de un “poco a poco dejo de estar donde tú estas”.

Producto editorial sin fines de lucro.

EXPOSICIÓN

CIRCULACIONISMO

HITO STEYERL Adorno’s Grey Museum as Battlefield Liquidity Inc.

25 de Febrero a 1 de Marzo 2015 12

Museo Universitario Arte Contemporáneo Centro Cultural Universitario, UNAM www.muac.unam.mx

E Q U I P O E D I TO R I A L

Dirección Editorial Paulette Cabrera

Coordinación Editorial Dianne C. Manjarrez Edición Editorial Ma. Fernanda García

Dirección de Arte Daniel Pérez Nuñez

Ingeniería Editorial Eduardo Avelino García

CONTENIDOS

DOTS 18

Duo Forma Fantasma

CIRCLES 56

Andy Butler 25

Zona Maco 2015

Colorful Glitch Artworks Cyril Foiret

Julio Le Parc´s Rollicking Retrospective

Artsy.net

Ellen Hilmefarb 29

Sinister Minimalism Gerardo Ayala

Stellar Axis: Antartatica Ani Tzenkova

Dutch Design Talents Ani Tzenkova

Lost & Found Elizabeth Day

The Reinterpretation of the Bamboo Bench

Andrea Chin 50

A Moment´s Reflection

Glass Tea House Mondrian Hiroshi Sugimoto

Deeksha Mehta

James Turrell Guggenheim.org

LINES 106

Retrograde Paulette Cabrera

CONTENIDOS

HORA CERO 112

Israeli Girls Tal Drori

120

Naturally Deeksha Mehta

dots

Los puntos se unen y problematizan los conceptos. Las relaciones que se van creando, construyen el proceso y lo identifican y le dan vida y estructura al producto final, al pequeĂąo fragmento de la realidad que se manifiesta sutilmente para solucionar la vida de quienes no ven los puntos y dan placer sĂłlo a los pocos que se los tatĂşan de vez en cuando. Los puntos.

Generally, our fascination for objects lies in their ability to represent human history.

As designers we are who we are because of our co-operation.

We believe the role of the designer is to respond to social and cultural necessities.

Working in a couple gives you the possibility to look at your creative process with more objectivity.

Never have stereotypes or prejudices.

Zona MACO 2015 Zona Maco has established itself as one of the most notable platforms for promoting international contemporary art in the region. We introduce a brief compilation of our favorite pieces.

JOSE DÁVILA Joint Effort, 2015 glass, boulder and ratchet straps 75 1/5 × 74 4/5 × 51 1/5 in 191 × 190 × 130 cm

FRANK MUJICA Sin Titulo, 2015 grafito sobre lienzo 51 1/5 × 63 in 130 × 160 cm

IVÁN KRASSOIEVITCH Un gato sobre el teclado (1), 2015 screenprint on paper 51 1/5 × 39 2/5 in 130 × 100 cm Edition 1/1 + 1AP

sinister minimalism WhatÂ´s the feeling we get while being in front of a minimalist piece of work? Gerardo Ayala

What do you obtain from participating in a game that consists in saying that nothing is said? That´s what happens when you confront emptiness. Minimalism is born from the concept of primary structures in which the form and meaning are reduced to the minimum state of order and complexity, morphologically speaking. They bet for the maximum order with the minimum of elements, in which

the material, surfaces and color stay constant to avoid diverting the observer´s attention. Attempting to eliminate allusion liberating art from any kind of referential or emblematic function, avoiding any kind of sensualist pollution that goes beyond the pure perception of forms, and that is cleaned from any kind of subjective trace. It seeks to dehumanize art, in the words of Ortega and Gasset. Getting rid of the humane in order to obtain intensity from an aesthetic pleasure.

In Stépahn Mallarmé´s words: “This is a disloyalty, this is prevailing from an obvious weakness found in men, grief or joy, which is usually passed from its neighbor. Tears and laughter are esthetically frauds”. Georges Didi Huberman, in his book, Ce que nous voyons, ce qui nous regarde defines two types of subjects and their direct relationship with art: the subject of belief and the subject of tautology. The first one corresponds to the classical art period, in which art had to represent something, it had to be educational, and devoted to precise standards and defined techniques. The new subject of tautology, conceptual, minimal art will be the foundation and the platform, of the aesthetics of the sublime.

The sinister aspect appears like the defining engine of this new empty, tautological, minimal art. It participates from the terrifying, anguish, it reminds us of death itself. It shakes the idea of unrepeatable uniqueness. Following this way of thinking, it´s defined that things are beautiful or that they assume a particular value for each one, not for what it´s seen in it, but for what it´s not seen, for what it´s missing, for what it´s hidden, but doesn´t show. Artists such as Donald Judd, Robert Morris, Dan Flavin, Walter De Maria, amongst others, were responsible of taking this movement with specific objects to a peak, trying to reach zero degree signification.

The work of minimalist artists are objects without symptoms, they are just tautological objects, which try to eliminate any illusion and demand to be seen for what they are, for what they appear, and for what they allow to be perceived. Before them, there won´t be anything to believe or imagine, given they don’t lie, they don´t hide anything, they remain and allow themselves to be seen. Minimalism shakes, reduces that religious precept that says “dust we are and shall return”. It disturbs for its perfection, simplicity and eternity. The simplicity evokes the fragility in which it moves, the ethereal aspect of the surroundings, to finite and infinite. To life itself and death. Minimalist objects are a stronghold, the minimum expression of existence, which therefore makes us think on death itself.

â&#x20AC;&#x153;Whomever looks for infinity, closes his eyes.â&#x20AC;? -Kundera

Dutch Design Talents Redefined in a printed serie publication which annually celebrates the 100 best emerging Dutch talents of the year.

Ani Tzenkova

The book focuses on 19 talents graduated from renowned Dutch art schools.

The 208-page hardcover book is packed with 19 talents, studio visits, sharp columns and inspirational dialogues with leading creatives on “the gap” between education and work. The book focusses on 19 talents graduated from renowned Dutch art schools like Eindhoven’s Design Academy, Amsterdam’s Rietveld and The Hague’s Royal Academy of the Arts. Each talent is remarkably distinct, yet they all share something special: the combination of a promising attitude and unspoiled creative thinking.

“The ‘Fontanel Finals’, their Dutch campaign, has become a yearly tradition. It is the showcase of every leading Dutch art academy graduation show, and the influential ‘Fontanel Dutch Design Talent’ insignia is awarded to our favorite graduating graphic designers, digital creatives, fashion designers, illustrators, product designers and artists.

The theme with which Fontanel has chosen to define the outline of this book refers to the gap between education and work. Besides personal stories by the Dutch Design Talents, expect personal short stories by leading creatives Joachim Baan, Kali Nikitas, Femke Agema and Martin Pyper. They have also documented an inspirational evening in which this gap is discussed with the likes of Pauline van Dongen, Marcel Kampman, Liza Enebeis and Nalden. Lastly, photographers Jordi Huisman and Marijn Smulders were sent across the country to document the diversity in Dutch creative spaces.

the reinterpretation of the bamboo bench stefan diez reinterprets the traditional bamboo bench for japan creative Andrea Chin

Each year, Japan creative selects a small group of creatives to participate in its program. Japan creative is an initiative founded by tokyo-based designer and art director, Masaaki Hiromura, sponsored by shibuya department store SEIBU. Its purpose is to promote the the ancient heritage of japanese manufacturing and crafts, by inviting international designers to collaborate with great japanese masters on contemporary design projects. For 2015, Barberosgerby, Pierre Charpin and Stefan Diez were invited to work with bamboo master, Yoshihiro Yamagishi at his workshop on kochi island in the south of japan. Munich-based designer Stefan Diezâ&#x20AC;&#x2122;s involvement has seen him reinterpret the traditional bamboo bench â&#x20AC;&#x201D; a seating typology that is still widely used in many places in Japan, but has become almost invisible in terms of the recognition that it receives.

48 Diez has envisioned ‘soba’ which takes this customary object and has given it a twist, by employing a construction that allows it to be easily assembled — ideal in the contemporary context of furnishings. His resulting work is being presented at the 2015 stockholm furniture fair.

Comprised of a trestle and bench in various lengths, Stefan Diez has conceived â&#x20AC;&#x2DC;sobaâ&#x20AC;&#x2122; as an almost flatpacked collection, which makes it possible to sell the design online. the pieces are made primarily of bamboo wood, whose components are fastened together using kevlar rope, cleverly put together and tightened by hand to ensure stability.

a momentâ&#x20AC;&#x2122;s reflection

A different view on some of the most breathtaking natural settings Deeksha Mehta

Nevada-born photographer Cody William Smith‘s work ranges from portraiture to pure landscape, but the common thread throughout his body of work is a serious appreciation of the natural scenery of California and Nevada, particularly the mountains, national parks, and coastlines that define the terrain. His collection of photographs entitled “A Moment’s Reflection” takes a different view on some of the most breathtaking natural settings by positioning mirrors to create profound reflections. The series is a study of nature, light, and photography itself, and show a unique, nuanced perspective on landscape photography.

circles

Es la cultura una forma circular que recibe amablemente otras formas, pero que nunca les permite interferir fuera de su posibilidad opaca. Lo irónico es que no ha entendido que así se forma; que es una resolución de círculos con borde delgado y también un poco opacos. Es una manifestación voluminosa e interesante que se construye orgánicamente por quienes son como ella. Los círculos.

Colorful Glitch Artworks by Manuel Fernรกndez Aesthetics evidence the process of image making in the era of digital publishing and Internet distribution.

Cyril Foiret

In the same way that abstract expressionism used error and random as a starting point toward new meanings and aesthetic to the unknown, bg Paintings emulates the glitch process, or visual error that is caused by the corruption of a digital file, but unlike this, the images are painted virtually, editing presets available in digital image software. Fernรกndez uses a wide range of techniques to create his art which include painting, animated gifs, photography, video and print. These beautiful statements are created with uv paint on canvas. Fernรกndez is founder and curator of Domain Gallery a web based gallery focused on digital and Internet based works.

The project begins at the intersection of art, popular culture and the Internet. The color palette is inspired by the amateur Internet popular culture that live in microblogging platforms, the composition midway between the glitch process and abstract expressionism and the production with UV inks on canvas, link the works with the classic format of art history, blurring the boundary between virtual and real.

These images are in a state of transit, are captured in an intermediate process files between decomposition to be transmitted over the network and its recomposition in the destination point.

Julio Le Parcâ&#x20AC;&#x2122;s Rollicking Retrospective The 86-year-old artist stages a fun fair for all ages at Londonâ&#x20AC;&#x2122;s Serpentine Sackler Gallery.

Ellen Himelfarb

It’s not every day I give an art exhibition a G rating, no less a Serpentine Gallery exhibition, known for its esoteric shows with a strong adult nature. But the launch last year of the Serpentine Sackler, a sister gallery in Hyde Park, seems to have given the august London institution a new lease on life. Kids, I am told, are welcome to observe and even interact with the art at the Sackler’s Julio Le Parc retrospective, open now through February 15. “The ideal spectator is the most free, most open, least conditioned” Le Parc says of the current installation.

“The most important thing for me is that brief moment of interconnection”. When some of these works appeared last year at the Palais de Tokyo in Paris, Le Parc spoke of his disdain for passivity Wand ideological conditioning and his quest for a more reflective, analytical, creative viewer. You get the feeling he could think of nothing worse than a gallery full of sober aristocrats, hands clasped behind their backs. The Sackler presents an entirely different experience. There’s a spinning wheel with Op Art stripes you can whirl as if you were a Price Is Right contestant; a dozen pairs of boldly colored glasses with visual effects created by mirrors around the lenses; a wobbly floor with a Space Hopper tethered over the center, taunting you to stagger up and punch it; a vibrating mirror; a pitching target cut in exaggerated silhouettes, or “myths.”

These pieces date back to 1960’s Paris, when Le Parc was creating work with fellow activists from the Parisian Groupe de Recherche d’Art Visuel (GRAV) that challenged the art establishment with its immersive installations. Ever since, the 86-year-old Argentine has been concerned with the artist’s role in engaging the public.Through this interactivity, the viewer learns to think with a broader perspective, discover new ways of interacting with the wider world, to see the “we” before the “me”.

It’s no wonder Le Parc wants to get them while they’re young. Le Parc’s light installations are crowd-pleasing too, in a different way. Composed between the 60’s and 90’s and updated throughout the artist’s career, they alter the perception of space, depth, and time, creating moving volumes that vanish (literally) in a flash. And in the era of the camera phone they take on new meaning, presenting themselves in the captured image like a ghost in a mirror.

Not far from “Jeu Enquête,” a room of hanging punching bags of the kind you’d find in a bouncy castle (each painted with a different uniformed officer), is “Lumière Verticale Visualisée,” in which vertical mirrors hang in place of the punching bags. As you walk through this mirrored maze the surfaces reflect strobe lights in all directions. It’s a journey—not quite the same as punching out a police officer in the next room, but it shakes you up before spitting you out the other end. And that, essentially, is what this art game is all about.

Stellar Axis: Antarctica In 2006, Artist Lita Albuquerque led an expedition to the farthest reaches of Antarctica near the South Pole to create the first installment of her global work Stellar Axis.

Ani Tzenkova

The expedition was aided by a grant from the National Science Foundation and was the first and largest ephemeral art work created on the continent. The resulting installation consisted of an array of ninety nine fabricated blue spheres. The placement of each corresponded to the location of one of 99 specific stars in the antarctic sky above. Creating an earthly constellation at the earth’s pole. As the planet rotated and followed its orbit the displacement between the original positions of the stars and the spheres drew an invisible spiral of the earths spinning motion. The Stellar Axis Expedition’s journey to the ice ice included a team of experts reseachers and artists with Albuquerque at the helm. Their purpose was to pursue and materialize a sculpture and ephemeral event on a scale and in a place that was completely unprecedented.

Elizabeth Day

In art, as in life, Parker shies away from superficiality. At its core, her work deals with the idea of transformation, of putting an object through dramatic, often violent, processes so that its reincarnation forces the viewer to challenge their preconceptions and look anew.

“My mind works in mysterious ways”.

At home, she was a tomboy and her father treated her as a surrogate son – putting her to work mucking out the pigs and milking the cows on the land he farmed for the Duchy of Lancaster. At Christmas, she would be given a shovel, while her sisters got dresses. ‘I was very much at one with nature and animals,’ she says. ‘I was possibly closer to animals than to friends at school.’ At school, Parker discovered her love of art. She did a foundation course in 1974, before going on to Wolverhampton Polytechnic and then taking an MFA at Reading University. Her father, who came from ‘solid, working-class stock’, never thought of art as ‘a proper job’. For years after graduating, Parker eked out a living as an artist in east London, supplementing a meagre income with teaching jobs.

Then, in 1994, she was involved in a serious car accident. Her pelvis was shattered in 15 places and she spent six weeks in hospital, followed by a further three months of enforced rest. From there, her work entered a new, more commercial phase. She got married in 1998. And then, at the age of 44, Parker unexpectedly found herself pregnant. ‘It was terrifying,’ she admits. ‘I definitely didn’t want children because my childhood was not a very happy time. She says she never gave much thought to whether having a child would impinge on her capacity to carry on making art. ‘I just feel it’s important to do as much as I can as a woman, to the best of my ability.’ She pauses, and then, almost as if she’s remembering those long-ago Cheshire days mucking out pigs, she adds: ‘You just get on with it.’

One of her most famous works, Cold Dark Matter: An Exploded View, consisted of the remnants of a garden shed, blown up by the British Army and hung from the ceiling as if suspending the explosion process in time. That was in 1991 â&#x20AC;&#x201C; a year before Damien Hirst exhibited his shark in a formaldehyde tank and two years before Jay Jopling opened the influential White Cube gallery.

In Embryo Firearms, in 1995, she displayed a pair of blank metal moulds for the Colt .45, ‘conflating,’ as she wrote at the time, ‘the idea of birth and death in the same object’. That same year, she put the actress Tilda Swinton on a white mattress inside a raised glass box at London’s Serpentine Gallery, forcing viewers into a position of involuntary voyeurism. She was nominated for the Turner Prize in 1997 but lost out to Gillian Wearing. A year later, Parker produced A Feather from Freud’s Pillow, where she took a single feather from a pillow on which Sigmund Freud’s psychoanalytic patients had rested their heads, photographing it in magnified detail. It became one of a series of ‘subconscious monuments’ left by famous thinkers, writers and scientists. Another ongoing series, Avoided Object, features items that have been somehow reinvented by being burned, shot, squashed, stretched, drawn, or exploded.

‘I try to avoid the “art world” as much as possible,’ she says in the soft Northern vowels that are the result of her Cheshire upbringing. ‘It’s too much about fads and fashions – who’s getting the best prices at auction and things like that’.

glass tea house mondrian a new initiative from those organized by le stanze del vetro Hiroshi Sugimoto

The “Glass Tea House Mondrian” is broadening its horizons, and involving internationally renowned artists to plan and design an architectural pavilion for Le Stanze del Vetro, following the example of the “Pavilion Series” of the Serpentine Gallery in London. The “Glass Tea House Mondrian” by Hiroshi Sugimoto is inspired by pre-modern abstraction, as perfected by Sen no Rikyû, in the Japanese tradition of the tea ceremony, “I decided that a Japanese transliteration of the name “Mondrian” would be an ideal name. I combined three characters that betoken “a modest house where one can hear the birds sing.” I like to think that this tea house was designed by Mondrian after he heard Sen no Rikyû speaking to him through the singing of the birds”, says artist

Hiroshi Sugimoto. The Pavilion consists of two main elements, an open-air landscape courtyard and an enclosed glass cube. The landscape courtyard (40m long and 12.5m wide) follows a path along a reflecting pool leading the visitor to a glass cube. Inspired by the Ise-shrine, the exterior fence around the pavilion is made entirely of cedar wood and realized through a contribution by Sumitomo Forestry Co. Ltd. Hiroshi Sugimoto and Sumitomo Forestry chose the cedar wood from the Tohoku region for their commitment in helping to reconstruct areas which were devastated by the 2011 Tohoku earthquake and tsunami. The long reflecting pool made of the glass mosaics at the centre of the landscape courtyard

The tea utensils used for the performance of the tea ceremony are designed by Hiroshi Sugimoto and they are produced by crafts men in Kyoto.On this occasion Sugimoto has designed a limited-edition glass tea bowl at Simone Cenedese’s furnace in Murano. The glass tea bowl is on sale at the bookshop of Le Stanze del Vetro. The “Glass Tea House Mondrian” is an innovative project as it offers a space in which to present and experience architecture, where the pavilion itself becomes the exhibition, an innovative example in which the artist can freely suggest a theme and a project, open to the possibility of experimenting with the setting, shapes, building techniques,etc.

represents the other main feature of the installation; it leads the visitor to the key area of the pavilion, i.e. the glass tea house. The reflecting pool is made possible thanks to the collaboration with Fondazione Bisazza, they where vital to it. Technical know-how and handcraft traditions are combined in the construction of the glass cube, and of the wooden elements, bringing together history and modernity, craftsmanship and technology. The glass cube is made by Asahi Building-Wall Co. Ltd, a leading company in the production of architectural glass structures and engineering solutions for glass facades or structural building elements.

Since the 1960s, James Turrell has created an expansive body of work that offers profound revelations about perception and the materiality of light. With their refined formal language and quiet, almost reverential atmospheres, his installations celebrate the optical and emotional effects of luminosity.

Turrell emerged as one of the foremost artists associated with what is known as the Light and Space movement, which began in Southern California in the mid1960s. Building on his early research into sensory deprivation (particularly the Ganzfeld effect, in which viewers experience disorienting, unmodulated

fields of color), his art encourages a state of reflexive vision that he calls “seeing yourself seeing,” wherein we become aware of the function of our own senses and of light as a tangible substance. These perceptual concerns are coupled with a deep commitment to the natural world and an interest

in orienting his work around celestial events. The latter is manifested most fully in Turrell’s Roden Crater Project (1979– ), his magnum opus currently under construction at an extinct volcano near Flagstaff, Arizona.

This exhibition, Turrell’s first solo presentation in a New York museum since 1980, considers the dominant themes explored by the artist for nearly fifty years, focusing on his explorations of perception, light, color, and space and the critical role of site specificity in his practice. It features a selection of

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early works, drawn from the museum’s Panza Collection as well as loans, that introduces visitors to the artist’s first statements in light. However, the show’s centerpiece is Aten Reign (2013), a major new project created specifically for the Guggenheim that reimagines the rotunda of Frank Lloyd Wright’s iconic

building as one of Turrellâ&#x20AC;&#x2122;s luminous and immersiveSkyspaces. Opened on the summer solstice, the installation fills the museumâ&#x20AC;&#x2122;s central void with shifting natural and artificial light and intense, modulating color, creating a dynamic perceptual experience that exposes the materiality of light.

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For his exhibition at the Guggenheim, Turrell has created a major new installation entitled Aten Reign (2013), radically transforming the museum in the tradition of his most sweeping, large-scale projects. For the first time, the Frank Lloyd Wright窶電esigned rotunda can be experienced only from

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below, as a volume of space floating overhead rather than a transparency to be looked across. No objects occupy the rotunda, aside from the structures the artist requires to reveal and amplify the luminous nature of the space. Turrell proposes an entirely new encounter with the building, drawing attention

away from the boundaries of the built environment toward the interior and fashioning what he has described as “an architecture of space created with light.” In Aten Reign, daylight from the museum’s oculus streams down to light the deepest layer of a massive assembly suspended from the ceiling. Using a

series of interlocking cones lined with fixtures, the installation surrounds this core of daylight with five elliptical rings of shifting, colored light that echo the banded pattern of the museum’s ramps. As is typical of Turrell’s work, the apparatus that creates the effect is mostly hidden from

led

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view, encouraging viewers to interpret what they see by means of their own perception. The work promotes a state of meditative contemplation in a communal viewing space, rekindling the museum’s founding identity as a “temple of spirit,” as articulated by Hilla Rebay, the Guggenheim’s first director and a pioneer in the promotion of nonobjective art.

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In 1966 Turrell moved into a building formerly known as the Mendota Hotel in Ocean Park, California, where he embarked on a groundbreaking series of works exploring the ways light can manipulate the perception of space, grouping them into broad categories based on similarities in structure and perceptual effects. In Afrum I (White) (1967), one of the earliest of what

Turrell calls Cross Corner Projections, visitors encounter a glowing cube floating in the corner of a room; what first appears to be a solid object resolves upon closer inspection into simple planes of light. The Single Wall Projection Prado (White)(1967), on the other hand, seems to dematerialize space, dissolving the wall and creating a passage to an unknown

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space beyond. The Shallow Space Construction Ronin (1968) reverses this effect, emanating light so that a vertical architectural fissure appears as a solid plane and dematerializes the darkened wall. â&#x20AC;&#x192; Turrell left Ocean Park in 1974 and moved to Flagstaff, Arizona, where he began to develop a series of light spaces and natural observatories at Roden Crater. At the same time, he continued to conceive installations for gallery spaces, including the Space Division Constructions. These pieces, including Iltar (1976), create an effect that may be read alternately as a flat panel of color hanging on a wall, a foggy void, or an opening into a separate chamber. Turrell also began to create works on paper, including several portfolios of etchings in which he explored the qualities of light that could be transmitted through the aquatint technique. First Light (1989â&#x20AC;&#x201C; 90) depicts the formal permutations around which he conceived his first projections, invoking the radiant power of the actual installations through white geometric shapes framed with rich black ink.

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lines

Evidente su aparición. Renglones; líneas; renglones; lines. Relación lógica aparencial. Tal vez un pretexto para los escritores ni siquiera encontrados. Pero si un poco vislumbrados entre lo estrecho de estas ideas borrosas. Ideas obligadas a una forma lineal, sin precedente y sin final. Sólo líneas que aparecen (como sus escritores). Las líneas.

lines

Conscious of not being able to separate myself from time, I have decided to become a part of it.

lines

We´re getting there.

lines

You get to sit and stare for as long as you can handle.

lines

We hide and we hope to never be found.

lines

We´ve come a long way.

lines

Are we there yet?

lines

Can´t stay (can´t leave).

lines

We are always leaving places behind.

lines

The idea that we are here forever.

lines

All the people that has come and gone.

lines

We ain´t here long enough.

lines

We are here, now.

lines

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hora cero

————————————————— ————————————————— ————————————————— Repetidas las horas cero. Momentos fragmentados y que fragmentan. Llegan para personas en específico, para quienes no están del todo aquí. Todo se suspende, todo se empieza a apagar.

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israeli girls by dafi hagai Slice of Israeli Tal Drori

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Dafi Hagai’s photos reveal a slice of Israeli youth culture that’s rarely seen by the rest of the world. She captures sun-drenched teenagers in their local surrounds – a retrospective take on her own teenage years in a Tel Aviv suburb. Hagay’s photos feel stylised yet are loose enough to embody the energy and moodiness of her subjects. The images make a pure cultural statement; there are no heavy national topics concerning politics or religion, just the anticipation and beauty of coming of age.

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n at u r a l ly Photography series Deeksha Mehta

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The concept of nudity can be conceived in unnumerable ways, most commonly in vulgar, or at the very least provocative ones. Bertil Nilsson, known for his unique landscape and dance photography, manages to make it breathtaking, serene and in absolute harmony with the natural surroundings.

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In his new series, â&#x20AC;&#x153;Naturallyâ&#x20AC;?, dancers perform incredibly controlled poses while covered in red and white powder, evoking jaw-dropping reactions. Nilsson, through this series has proven that the discipline of the human body and the discipline of nature reveal the most authentic form of beauty.

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CIRCLES

forma fantasma

colorful glitch artworks

Pg. 18 - 24 Fotografías obtenidas de Designboom

Fotografías obtenidas de Trendland

zona maco

Pg. 63 - 69 Fotografías obtenidas de AIGA eyes of design

Pg. 25 - 28 Fotografías obtenidas de Artsy

julio le parc‘s rolicking retrospective

sinister minimalism

Pg. 71 Fotografía obtenida de Ventanalatina

Pg. 29 Fotografía obtenida de Magic4walls

stellar axis: antarctica

Pg. 30 Foto 1 Fotografía por Robert Morris Foto 2 Fotografía por Donald Judd Pg. 33 Fotografía obtenida de WallHaze dutch design talents

Pg. 35 Fotografía por Benjamin van Witsen Pg. 37 Fotografía obtenida de Fontanel Pg. 38 - 39 Fotografías obtenidas de Mendo Pg. 40 - 41 Fotografías por Benjamin van Witsen

Pg. 102 - 103 Fotografía obtenida de Smadar Sheffi Pg. 105 Fotografía obtenida de KCRW

Pg. 73 - 76 Fotografías por Jean de Pomereu lost

& found

Pg. 82 Fotografía obtenida de Maintenantman`s Blog Pg. 83 Fotografía por Hugh Glendinning Pg. 84 Fotografía por Cornelia Parker Pg. 85 Fotografía por Stephen White glass tea house moundrian

Pg. 89 - 90 Fotografías obtenidas de DesignBoom

the reinterpretation of the bamboo bench

Pg. 91 - 93 Fotografías obtenidas de LeStanzedelVetro

Pg. 43 - 49 Fotografías por Jonathan Mauloubier

james turrell

a moment´s reflection

Pg. 96 Fotografía obtenida de The Wild Magazine

Pg. 50 - 53 Fotografías por Cody William Smith

Pg. 100 - 101 Fotografía obtenida de TalkContract

Pg. 97 Fotografía obtenida de Miesby Pg. 98 Foto 1 Fotografía por Ekebergparken Foto 2 Fotografía por Interior Design Blog

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GLOSARIO FOTOGR ÁFICO

DOTS

LINES

HORA CERO

sin comentarios

israeli girls

Fotografﾃｭas y texto por Paulette Cabrera

Pg. 112 - 119 Fotografﾃｭas por Dafi Hagai bertil nilsson: naturaly

GLOSARIO FOTOGR ﾃ：ICO

Pg. 120 - 127 Fotografﾃｭas por Bertil Nilsson

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Proyecto acadĂŠmico sin fines de lucro.

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