Kikked! Issue 2

K IK K ED !

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3Satva Noisy Pipes Chris Getliffe The Areola Treat Michael Kulick XV Expo Tatuaje, Guadalajara VJ Festival Istanbul Crosstalk Video Festival Laurier Tiernan New Life Festival Copenhagen American Artifacts MultiTouch Barcelona Warhol's Wide World Jeremy Scott James Dillon Wright

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Editorial Hello, and welcome to Issue 2 of Kikked!

Kikked! began as an idea in April 2009. Belated thanks to everybody involved in the creation of Issue 1, which became a reality in May. To date, Issue 1 has received over 12,000 visitors, which was way beyond any expectations.

So what is Kikked! all about? What makes Kikked! different from the various other magazines out there? The answer is simple – Kikked! does not focus on one particular artform, we try to cover a broader spectrum. So, we are not a music magazine, or an “art” magazine, we are a magazine that will cover any form of art that gets our attention.

For this issue, we bring you music from Malta, in the form of indie/rock outfit The Areola Treat. If you haven't heard “Sibbi” yet, go listen to it. From Japan, Laurier Tiernan talks about his struggles to get a recording contract, and from France, psy trance band Noisy Pipes talk about their new album.

Moving onto artists, from the USA we bring you the hugely talented Michael Kulick and the multidiscliplined and highly original 3Satva. From the UK, Chris Getliffe talks about his illustration and comic strip work.

The world of exhibitions does not escape our attention. Inside this issue, we feature the New Life festival in Denmark, from Spain, Multitouch Barcelona and Italian architect Andrea Palladio's exhibition, artist Francesco Clemente's “Madre” exhibition in Naples, from Paris, the Foundation Cartier's Born In The Streets graffiti exhibition, and Warhol's Wide World in the Grand Palais museum, and American Artifact, an exhibition celebrating Rock poster art.

Other forms of festival covered include the recent VJ Festival in Istanbul, Turkey and the Crosstalk video festival in Hungary, and upcoming tattoo exhibitions in Poland (Tattoo Warsaw) and from Mexico, the XV Expo in Guadalajara, organised by Sammy Tattoo Family.

This issue also comes with a few extras. If you buy the magazine, you also receive tracks from the Areola Treat (“Sibbi”), Laurier Tiernan, as well as a copy of Laurier Tiernan's video for the “End of the World” single, and some videos from this year's VJ Fest Istanbul.

Since the first issue, we have also created a Facebook group ( http://groups.to/kikked ). Please feel free to join this group, where you will be kept up-to-date with all Kikked!-related activities.

In the meantime, thanks for taking the time to read this, and enjoy the magazine.

Seamus Kik Editor

Contents VJ Festival, Istanbul Michael Kulick The Areola Treat New Life Copenhagen Tattoo Warsaw Noisy Pipes 3Satva FilterKik in Catalunya Crosstalk Video Festival, Hungary Chris Getliffe Laurier Tiernan Rejkavik International Film Festival Burning Man Introduction to Flamenco An American Artist in Italy XV Expo Tatuaje, Guadalajara Warhol's Wide World Multitouch Barcelona Born In The Streets : Graffiti Exhibition Gangs of The 80's Andrea Palladio Graffiteros in Seville Francesco Clemente Jeremy Scott American Artifact

VJ FEST ISTANBUL “Visual Art Games”

As VJs, we would like to be part of the venues and do good Vj-ing for the people and for the music worldwide. We want to share our knowledge with each other and with the interested people. We would like to help creative people who wants to become VJs. For these purposes, VJs got together in VJ Fest Istanbul between 4-8th June 2009. There were seventeen VJs and four multimedia artists from eight different countries. From Austria 4YOUREYE, PIXKOMPRESSOR, DECOLLAGE.TV, BLJAK!, FEROZ; from Germany SHADO VISUALS, MO (Japan) and from Andorra VJ GRANDA joined. 7 Dutch artists were LOTTEZ, PIXELADY, AINEKO, POLY PASTIS and THE VIDEO WORD MADE FLESH. There were one Belgian-ORCHIDE BITE, one French-SCOUAP and two Turkish VJs: TURBOSLOW and VJUNK. Ten Turkish techno DJs, three DJs from Spain, Holland, Belgium and one music band from Brazil, NATIVIX performed in the festival.

For four days, there were held wokshops and dance parties at one of the known music lounges of Istanbul, Ghetto. VJs performed on the stage with musicians and DJs. In the workshops, artists talked about their works and their Vjing techniques in general and in detail. Four VJ software workshops were held on Resolume Avenue, Arkaos VJ, Modul8 and Quartz Composer. We discussed about Vjing as a profession, including topics like finding sponsors and making contracts for the VJs. Marina Turco, a Ph.D student of Media Studies at Utrecht University gave a talk about her thesis titled “Dancing Images: VJ Performances and Club Culture”. She explained her attempt to draw the borders of this new media art with theater, film and video theory.

VJ FEST ISTANBUL “Visual Art Games” VJ SCOUAP (France) made a video art show with his map painting technique. His performance with DJ Code314 (Belgium) was probably one of the most interesting shows for the audience.

About 400 people joined in the parties. On the fifth day, there were two audio visual performances at the French Culture Institute Theater. One was a live cinema; transferring sound signals to video signals, video into audio by analog tools. The other one was a combination of video, music and text, inspired of Albert Camus’s book Stranger.

VJ Fest started when I first heard about VJ Camp at Greece and got very excited about the idea that VJs are getting together, making workshops and performances. Eva (4YourEye- Austria) helped me with the basic idea. She also told me that the consulates may support these kind of organizations. Then I asked Austrian Culture Office and started to search for contacts of embassies. I found out French Culture Institute. I invited VJs KISSDUB, ELECTROMOON, ILLUMINATOR, LOTTEZ, ZANNE, ALERTA, ORCHIDE BITE with the support of the French, Polish, Dutch, Belgium and Finland Consulates last year. And other VJs SHADO VISUALS (Germany), BLJAK! (Austria), WOJLAMIR (Polland), VISUAL AB&CO (Italy), SCOUAP (France), MONKEY PRESSO (Hungary) paid their expenses themselves and 15 VJs stayed at our friends’ houses. On 12-15th June 2008, 19 VJs from 9 countries came together and 15 of them made workshops. From Bilkent University, a communication design professor, Andreas Treske gave a talk about interactive video. Both the first festival in 2008 and the second festival this year were held by completely volunteer work of VJs, DJs and friends.

VJ FEST ISTANBUL “Visual Art Games�

I think VJ Fest Istanbul is amazing because we did it without money, without any commercial support for two years. It could be organised by anyone, and I am someone.

It is amazing, because even when people from their computers don’t know each other, could come to Istanbul and contribute to the festival for fun and experience.

Today 40 VJs and more than 20 musicians are connected. This will continue and get wider in different dimensions worldwide, with new friends worldwide. The festival is two years old now and eventually getting bigger.

I think Vj Fest istanbul is important for VJs because they come together, meet each other and work together. They can talk to each other about art, technology and society. It is important because when lots of artists come together, they interact with each other and the interaction creates a vibe in which nobody knows what good things will happen.

The time I spend with VJs and DJs as well as with other contributers last year and this year is like I find my friends from childhood. All nice and kind people, whatever we do together makes everybody happy!

VJ FEST ISTANBUL “Visual Art Games”

“VJ Fest Istanbul was a wonderful gathering of a bunch of very nice and very creative people with more then one vision — all taking place in one of the most fascinating cities on planet. Beside great performances accompanying cool electronic beats it also featured interesting workshops and most importantly inspiring and motivating discussions about the art of VJing, but also about the daily work and the business side in a VJ's life.”

Rolland Lindner (VJ Decollage.tv –Austria) “I love istanbul! Nice to meet you everyone ! Vjing is good ! Art is good ! You are good ! You are vj ! Vjing is not a compétition ... Working together is vjing” Stephane Couapel (VJ Scouap –France)

VJ FEST ISTANBUL “Visual Art Games”

Some video clips from the VJ Fest are also available to view on the Kikked! CD.

http://vjfestist.org/ http://myspace.com/vjfestist http://vimeo.com/vjfestist http://www.facebook.com/group.php?gid=14270752537

Michael Kulick

Michael Kulick lives and works in Bethpage, N.Y., and writes, "I started drawing at 5 years old and couldn't stop.

Discovered music and put the two together and it was all over. There is no greater high than to shut the door, kick up the jazz, light a smoke and paint from the heart ... nectar of the gods."

Michael Kulick Musicians feature prominently in your work. Do certain musicians (or types of music) inspire you to paint ?

Music that inspires my artwork mostly is jazz and the blues. Jazz because it is like this moving wave of emotion that just takes over once you turn it on..really helps let the brush flow and go where it wants to go..The blues drag me down into some alley at 2 am in some old 40's film...painting to the blues I get really rough with my lines and the whole image usually ends up torn and missing something...its just like that lone guitar crying in that alley..Classical music is another that really gets me in the zone...I can get so lost in Mozart's music hours go by, and I kind of wakeup when it's over and there is a finished painting in front of me...

You mention painting with different techniques, e.g. oil, acrylic, etc. Do you feel drawn to one of these than the others ? Or, which technique do you find it easiest to express yourself with ?

I work in acrylics and oils...sometimes mixing the two...none of them are easy..Starting a new painting is a mess,mixed ideas and random shit everywhere on the canvas, but I like it like that..oil is great that way...oil is almost alive on canvas..it is always changing and your emotions have alot it the way it ends up...Acrylic I love for more of the design and pattern effects, shapes that are very structured and uniform. you can build layers and layers ..to me its like putting a puzzle together with acrylics.

Music seemed to take over while you were in Carolina.

Was this just coincidence, or do you find certain locations inspire you more?

I was fighting the art and music back and forth and had a chance to finally join a band and express myself through my own music..which was great and new to me..I needed a break from art..

Do you find certain themes occur throughout your work ?

Ya I have found a few themes that I use in my work. bright colors,line work, and not one of my paintings are ever finished...I really like patterns to hold my image's together. very detailed line work.just always grabbed me..I really like the direction my work has been going in the past year or so...I feel like im really finding myself as an artist..its hard work and I love that.

Michael Kulick

“Antichrist” by Michael Kulick

Michael Kulick Can you explain "The American Dream" ? whatever it means to you is what counts...

You were recently featured at The Skinny in New York's Lower East Side. Can you tell us how that went ?

The Skinny was a really great event for me..I had a large volume of work up. We had a meet the artist type of thing...and that was great..alot of people came out in support..it really was a stepping stone for me...

You have an upcoming exhibition at Backstage Studio Productions, also in New York, which will feature a large volume of your work. Can you tell us some more about that ?

Ya im really looking foward to this one...BSP is in Kingston NY at 323 Wall Street 12401. Im going to try and bring most of my work from this year so far. I think this year painting for me has been the most important in my life so far..and to see it all layed out in front of me on the big white walls...will really open my eyes and soul as to where im going with all of this..it is reflecting time for me..My work will be up July 31st till September 30th..so if your around the area....stop on by Is it difficult for an artist in New York ? it is difficult for an artist in any town..

What are your plans for the future ?

To be honest..I just want to cover the world in my art. I have so many images in my head and never enough canvas...I plan to keep landing shows untill something sticks. I would Like to open a warehouse in the city to paint in. Just loads of ceiling space and freedom to explore on the canvas. I like the idea of live painting with a group of artists. I would like to put together something like that soon,maybe in central park or something.

How can people find out more about you and your work ?

You can contact me at m_kulick@yahoo.com .

My MySpace is www.myspace.com/theblankslate9 and you can now by prints and original oils of mine at www.fineartamerica.com.

If anybody out there had ideas for artshows, gallerys, or anything like this..send me an email and lets put it together..

Michael Kulick

“Jimi Hendrix”, by Michael Kulick

Michael Kulick

“Abraham Lincoln”, by Michael Kulick

The Areola Treat

The Areola Treat do not ascribe to any particular creed. This band is not about spouting slogans or half-baked philosophies of life. This is art for art’s sake; noise for noise’s sake.

Having been formed just over two years ago, The Areola Treat seem to have a liking for B movies, awkward Japanese bands, rock and roll and howling werewolf-like growls in their performances.

Consisting of Adrian, Lisa, Matthew and Chris, the band are said to be creating a new storm in the indie/ alternative scene. With screeching guitars, resounding feedback, feisty punk beats and definite munchy punk vocals in numbers like 16 , Disco Party and Boulevard Werewolf, they are almost reminiscent of the 1970's punk pioneers X-Ray Specs.

However this band reinforces the fact that all that glitters is not gold (or perhaps, all that seems to be moderately predictable is not), with their more toned down indie songs like Cheap Thrills, A Hundred Silhouettes and Cosmos.

In a nutshell, The Areola Treat sound like a rodent, a wolf, the rather grotesque wig your granny stores affectionately in her drawer, stilettos, anti-disco balls, cheap perfume, red lipstick and a bashed electric guitar, all shoved into a blender and served with a punch of red hot chilli.

The Areola Treat The frontwoman? She is reported to take pleasure in writing, along with listening to sixties’ psychedelic and Motown records. But don't ask Lisa what she's screaming about.

Or take a deep breath before you do. Inspired by cult classics, seventies horror movies and the origins of Punk, this band is definitely one hell of a bloody mess. The Areola Treat are not your average indie band. Prepare to be drugged (or take something before the show)!

Kikked! caught up with Lisa and Adrian from the band to ask about their new EP. How did the band start?

The band was formed some three years ago when Adrian and Chris decided to carry on working together after the break-up of their previous band, Lumiere. They had a handful of songs that were crying out for a screaming female vocalist and a couple of good old pounding bass lines... which is where Lisa and Matthew entered the picture.

When I listen to your music, I hear Siouxsie & the Banshees and Patti Smith.

Other reviewers have compared you to bands like X-Ray Spex. Who or what would you say are your influences ?

We all listen to different stuff, and not all of it is immediately obvious in the music we make together, but some of it obviously seeps through... Lisa, for instance is into 60s girl groups and Motown, Adrian is a Sonic Youth obsessive, Chris is into heavier stuff like Queens of the Stone Age and the Deftones but also has a quieter side to him, and Matthew's favourite band of all time is the great Dinosaur Jr. Your debut EP has recently been released and is available both physically (vinyl) and via stores such as iTunes, Juno and Napster. . How has it been received and have these sites proved useful in distributing the EP ?

All reviews we are aware off were impressively positive & physical sales (cd) on our little island were what we've expected them to be.....quite good.......we may sell less than pop bands but our fans are quite hardcore ones:-). When it comes to digital sales we were a bit let down. We'll want to start touring more abroad to boost record sales. Cannot blame the digital sites for this, you search for the e.p. & you'll find it but it's not that easy to get reviewed on major music magazines which will definitely help to spread some buzz around our name.

Is it hard for a band to get noticed in Malta?

It all depends on how much we'd like to get noticed. It's very easy getting noticed by friends and their extended networks... the difficulties begin when it comes to attracting a wider audience without compromising our original sound. Unless the music is immediately catchy it's difficult to get airplay on any of the radio stations here, which is obviously a drawback when it comes to selling Cd's and promoting gigs.

The Areola Treat What is the music scene like in Malta ? (e.g. main types of music, venues, clubs, etc) Over the years the alternative music scene has got better in certain ways, with quite a good number of foreign bands coming over to play and good sized crowds turning up to watch them. But personally, I feel that there is much less of a feel of a thriving alternative music scene than there was during the 90s. This could partly be due to the fact that music festivals for local alternative bands have become almost non-existent, which means that bands tend to gig alone or with just one other supporting band, thus creating a sense of isolation between bands. This is very different from the punk scene where the bands stick together, organising festivals together and turning up for each others' gigs. I think alternative bands need to learn a thing or two from the punk scene and start working together again!

You played recently with Scream Daisy at Gianpula Fields, Malta's largest open air venue. How did that go ?

We still have to play that gig next month, but we've recently played a supporting slot with Therapy? (the irish punk rockers). It was a very very good one indeed.

Do you have any more live dates planned for the future ?

We're planning a tour in italy & belgium this coming fall which we'll announce the dates of as soon as they're confirmed.

Are there any plans for an album ?

We've just finished recording our full length debut album which is due for release this coming fall as well. Some songs for album the take where the e.p.we left off......most of them though boast a wider approach & some more layers to the sound.

How can people find out more about you?

Well, all our news about this upcoming tour dates, album release & merchandise can be found on our myspace www.myspace.com/theareolatreat . For info & bookings we can be contacted at info@theareolatreat.com .

Any parting message for your fans ?

Would like to thank everyone that shows us the support of course & well to expect a monster of an album very soon:-)

The Areola Treat

The Areola Treat's “Sibbi” is available as MP3 on the Kikked! CD.

The Areola Treat

www.myspace.com/theareolatreat www.facebook.com/pages/the-areola-treat/24450157757 http://www.last.fm/music/The+Areola+Treat

NEW LIFE COPENHAGEN is a contemporary art festival powered by the collective thinking of WOOLOO.ORG's worldwide users.

NEW LIFE COPENHAGEN will take place from December 7th to 18th, 2009 in Copenhagen, Denmark. The festival is part of the official cultural program for the United Nations (UN) Conference for Climate Change - gathering 192 nations in Copenhagen to broker a new global climate treaty to replace the Kyoto Protocol.

NEW LIFE COPENHAGEN now invites artists to engage in the pressing issue of climate change and submit proposals for sustainable “life rules” that can be followed by people in their everyday lives. During the festival in December, these rules or interventions will be followed by 10.000 people living in Copenhagen.

Proposals should question cultural habits and can also include public events or other physical manifestations.

Five final artists will be selected. The selected artists will receive both personal honorariums and full production budgets. Proposals, including budgets, should be submitted via WOOLOO.ORG by August 31st, 2009.

Wooloo Productions creates participatory situations examining the construction of reality by social and political forces. Every Wooloo project attempt to offer its participants the possibility of an alternative mode of existence.

“LIFE RULES”?

At the end of Al Gore’s film “An Inconvenient Truth”, he lists ten simple life rules to combat global warming. These include using less hot water, recycling more, driving less, etc. While NEW LIFE COPENHAGEN supports this sustainable thinking, we also believe that the real problem will not be solved by individual, behavioural modifications - but only by fixing the fundamental wrongs of a global economic system that thrives on the exploitation of natural resources.

Seen in this way, the climate crisis is not just a threat but also an opportunity. The opportunity to create transnational commitment around radical re-thinkings of our destructive way of life. The first step to create such change, is to think outside the current system and its concept of cultural rules. That is our mission with this festival.

By asking artists to develop rules for a new life, NEW LIFE COPENHAGEN aims to step far beyond the traditional role of the art festival as passive exhibition platform and become an active organizer of powerful experiments in collaborative social change.

THE FIRST RULE The first life rule is developed by the festival curatorial team and is geographical specific to Copenhagen. It says: COPENHAGEN CITIZENS MUST HOST A VISITING ACTIVIST DURING THE FESTIVAL PERIOD. In addition to the thousands of official UN delegates, it is estimated that approximately 50.000 climate activists and NGOs will come to Copenhagen to voice their opinion at the UN Conference that has been called: “Humanity's last chance to combat a climate problem that p is now all but overwhelming.� (Tim Flanery) However, there are no hotels for the activists to stay in. All the hotels in both Copenhagen and its surrounding area (including Sweden) have been booked for the official delegates. And even if they were available, most activists from the South would not be able to afford them anyway.

From this premise, the first festival rule deals both with a practical problem, as well as with the very idea of hospitality - a cultural concept that is highly relevant in a Danish society ruled for nearly 10 years by a right-wing coalition famed for its harsh antiimmigration policies.

The ambitious goal is to have 10.000 private homes in Copenhagen to host at least 10.000 visiting activists. This large scale meeting and the 10.000 homes involved is the exhibition setting for NEW LIFE COPENHAGEN.

Tattoo Warsaw 20 years ago in Poland at the Presidential Palace the process of the fall of communism in Europe has begun. At the “Round Table” negotiations the government accepted the demands of the opposition, fighting for democracy workers unions “Solidarnosc”. The “Autumn of Nations” has begun. It was the least bloody European revolution which effect was the fall of the Soviet Bloc in Eastern Europe.

Till 1989 Western Europe was happy with the freedom, respecting of the law and wellbeing. Till 1989 Eastern Europe was characterized by censorship, poverty and fear from the government. The artistic circles created mainly what was appropriate for the authorities. No one had the right to create independent, experimental, opened art. Tattoo was the way to mark and blame associated with imprisonment, something neglected, treated as an outrage and wasn’t accepted by government at all.

While in Europe tattooing had its renaissance, in Eastern Bloc countries it has been put into jailhouse cells with primitive conditions, so-called art and primitive people.

5-6 September 2009 in the centre of Europe, in Warsaw we would like to organize a tattoo convention on which we will show how the fall of totalitarism 20 years ago gave the freedom of speech and creativity to artists which till that moment were repressed.

How do tattooists from the post-communist countries affect the tattoo scene? The convention will be set in the XIX century building ”The Cultural Centre of Former Distillery - Koneser” in the centre of Warsaw and will be connected with lots of exhibitions, and discussions about the modern tattoo and its past. We want to gather more than 100 best artists from the former Eastern Bloc.

The promoter is Polish magazine “TattooFest”. Our experience built while organizing other Polish convention in June each year in Krakow guarantees the higher level of organisation along with artistic and educational matters. Visit www.tattoofest.pl for further information. For questions, please call +48 12 429 14 52 or email us at tattoofest@gmail.com.

We invite you all to visit this one and only tattoo convention so different from all the others, we hope.

Noisy Pipes

Sonic Motion Records are pleased to announce Noisy Pipes exclusive debut album titled 'Out of Sync with this World' in 2009. Nicolas Zappa started Noisy Pipes 3 years ago after many years involved into rock and industrial music. From the beginning till the end, 'Out of Sync with this World' takes the listener into different atmospheres created by many influences including industrial rhythms, psychedelic sounds, techno beats, melancholic pads and haunted strings. Emotions change and tempos evolve during this record. When feelings seem to betray mind is what this record is all about.

Kikked! Caught up with Nicolas Zappa to find out more about the album.

When did you first start making music ?

Well, I really first started music when I was 15 (the truth is that I studied a little bit of clarinet when I was about 7 but as I was really bad, I won't say anything! Oops too late!), as a bass player, I was playing blues and classic rock with my brother.

Then, I've been playing drums for a few years in several rock bands. But I really started to write music when I was about 22 as a guitar player in a rock band (again!), this band has been important to me because during that time, I discovered electronic music and got into it thanks to artists like Depeche Mode, NIN, Front 242, Aphex Twin and many others notably in the electro industrial current. When the band has split up, I continued to take an interest in electronic music, then got to know dancefloor music, especially psychedelic trance. Logically, I started djing first and production came up afterwards.

Noisy Pipes was created about 3/4 years from now, the first track was released on Triplag as a free download and my first release on CD was a versus track with Little Pumpkin on Peak records. Then other releases followed on D-A-R-K records, Nun Shaker records and Sonic Motion records of course who I released my first album with this year.

Noisy Pipes Your debut album "Out of Sync With This World" was released earlier this year. How has it been received ?

Indeed, "Out of Sync With This World" was released on Sonic Motion Records in April 2009. To be honest, I was a little bit afraid in terms of how people would receive it because it's not a totally psytrance album, there are other styles in it that are not danceable at all. So it was kind of risky to release this album on a psytrance oriented label but Atyss (the label manager) being very open minded, decided to release it and since then, we got some positive feedbacks which is very motivating and hopefully, it will go on this way.

How would you define your style ?

It's always difficult to answer this question as the style evolves all the time but basically, now Noisy Pipes looks like a mostly psychedelic trance project. It also features more techno, downtempo and electro industrial parts too but also, I guess rock music remains a huge influence for me and you can probably hear it in the album. (but as I want Noisy Pipes to be essentially electronic and instrumental, I keep the rock music escapades for my other project called 3701, an EP is on its way, you can have a preview on www.myspace.com/3701music ) Besides, I think Noisy Pipes' music is also very visual, you can easily put pictures upon it. One of my friends described "Out of Sync With This World" as it was between introspection and dancefloor. In the future, I don't really know what Noisy pipes will sound like, I might make less psytrance and more downtempo tracks for a while but who knows... Maybe I'll turn the project into black metal-reggaefunky-waltz-country...!

What other musicians influence you ?

Well, most of them are rock artists. I'd say, John Lennon, Trent Reznor, Depeche Mode, Pink Floyd, My Bloody Valentine, Sonic Youth, Radiohead, the Smashing Pumpkins, Tool, The Cure, Joy Division, David Bowie, Einst端rzende Neubauten... Concerning electronic music, I really like Front 242, Skinny Puppy, Das Ich, Front Line Assembly for the industrial part. Richie Hawtin, Troy Pierce and Ricardo Villalobos for the minimal techno part, Phatmatix, NRS, Deviant Species, Digital Talk for the psychedelic trance and X-Dream, The Delta for the not-so-trance music.

I'm also very influenced, I guess, by movies from David Lynch, Michel Gondry, old german expressionists ... And many other artists apart from musicians.

What equipment do you use ?

I first started production using Cubase, then Logic on PC but I've been using Logic Pro on Mac for 2/3 years now. I almost use only Logic's features except Native Instruments' Massive synth, Ableton Live sometimes, a few plugins, a midi keyboard, an electric guitar and a microphone.

You previously hosted Trance Vallee Express on France's Vallee FM. Do you have any plans to continue working with radio ?

Exactly, I used to host that show. I've been doing it for 2 years but had to stop it because I needed to focus on other things. Unfortunately, I don't think I could do it again now as it takes a lot of time.

Noisy Pipes What is the psychedelic trance scene like in France? (Or how does that compare with any other countries you've played?)

In France, the psytrance scene is quite small, we don't have huge festivals and parties like in Brazil, Australia, etc... It used to be bigger in the late 90's (I wasn't into it at this time), but still, even if we don't have very big events, there are lots of great artists (Phatmatix, Triskell, Principles of Flight, Phonic Request, Hyper Frequencies, Side A, Little Pumpkin, Silicon Sound, Atyss, Digital Talk, Brain Driver to name a few of them) and great promoters (Gaia Concept, Aqua veda, Seventh Sky, ETC..., Hadra...) who all do amazing stuff.

We also do have some very talented "ambient" artists like Akira Club (check out his debut album "More than expected", it's just awesome) or Lipo. By the way, Sonic Motion records latest release "Sonic Atmosphere" shows some of french chill out talents.

Has the internet changed the way you work ? (e.g. promotion, distribution, etc.)

I think the internet has changed everybody's way of working. Before the internet, it was very difficult for a band to get exposure, and very expensive too. The tons of cds to burn and mail to radio stations, magazines, promoters, labels, etc...

Since the internet, one click and your music is available all over the world. I think it's a very good thing, because indepedent artists can have almost the same exposure and major record companies tend to lose a bit of their exclusive control on this.

In a perfect world, we could expect soon that it would be so easy and so fast for the audience to discover new artists, they could decide and choose what they like and what they don't by themselves.

Tastes would be no longer ruled by big companies. But is this world perfect?

Anyway let's go back to the subject, the internet allows artists to share their own music and use it for their promotion. For example, before the album was released, I gave away one track "Sex Mex & Hot Cakes", so everybody could download it for free and we got some good feedbacks about this gesture.

Without the internet, this would have been impossible to do so easily.

And it also makes things way easier for remixes too as artists can exchange their files very quickly.

Noisy Pipes Do you have any plans for future collaborations ? (e.g. the Gloopy remix “Never Talk To Strangers�)

Well, "Never Talk To Strangers" was a track from Principles of Flight's debut album that I remixed. It was released on Boom! records in digital format. I planned to remix a track from Triskell "Chips'n'Twist" and maybe other things that are not confirmed yet like writing soundtracks for short films.

Have you any other live dates planned for the future ?

I'll be playing at the "Password Is Love" party organised by Gaia Concept in Paris on September, 19th this year which will be a very good party for sure on the day of the "Techno Parade". The line up of the party features System 7 (Steve Hillage & Miquette Giraudy), The Antidote, Solead, Kuntact, Shane Gobi and Kick Bong. I'm really excited about this.

This is the only gig confirmed at the moment but hopefully more will be appearing on my agenda shortly.

How can your fans keep up with your activities ?

The best way to get information is via www.myspace.com/noisypipes or http://sonicmotionrecords.com . Otherwise, Noisy Pipes' official website has recently open, you can get in touch with me via this means as well, just visit www.noisypipes.com And lastly, is it a blessing or a curse having the surname Zappa ???!!! ;-) Haha, unfortunately, as far as I know, I'm not relative with Frank Zappa. I don't know if it's a blessing or a curse but sure I would have loved to have even a tiny percent of his talent.

Myspace artist http://www.myspace.com/noisypipes / 3701: http://www.myspace.com/3701music / Label http://www.sonicmotionrecords.com/ Shops : http://www.psyshop.com/shop/CDs/som/som1cd004.html / http://www.goastore.ch/product_info.php?products_id=3013 / http://www.beatspace.com/dettagli/dettaglio.asp?id=4853 / http://www.teknasia.com/recherche.php?rech...htype=catalogue / http://www.wirikuta.at/web66/product_detai...owDetail=218487 / http://www.saikosounds.com/english/display...ase.asp?id=7882

3Satva

Written and Illustrated by 3Satva Standard Sized Trade Paperback Full Color Page Count: 68 POD

Amidst the multitudes of tech-driven urbanites, in a society fused with electrical impulse and nano-scale circuitry, a rogue graffiti bandit tries desperately – and fails – to elude the cybernetic security squad bent on introducing him to the all-seeing MetaGrid.

His only hope for the concrete jungle of his former reality may be the ultimate tech junkie, a green-haired systems hacker who extracts codes from plants in a homemade junk-filled lab; or perhaps a shady harem master who lives across the desert of waste mountains. And this might not be all bad, except for the twistyturvey competition from his purple-skinned ninja ex-girlfriend, the diabolical and multi-faceted plots of the Queen of Binary, and the scythe of a genetically-engineered assassin looming about his throat. Welcome to the world of TriadSphere...

Triad Sphere Codex 1: Retinal Crash TM and © . All rights reserved.

3Satva I find the dynamics of my vision in combining elements of ancient cultures and embedding them in a future world. Old ideas are constantly recycled and reformed into new mixtures. My art is an amalgamation of my childhood upbringing around Buddhism, tarot cards, native shamanism and yoga.

I was born and raised in Glen Park. My upbringing was eclectic, to say the least. My father organizes an annual new age convention called the Conscious Life Expo, and my mother is an Iyengar Yoga teacher. I believe my art represents a true home grown voice of the city.

The future is now. As an artist it is my responsibility to envision new potential ways to see and be in the world. I make maps of the future, studying everything from linguistic trends to regional misunderstandings, then I hypothesis future cultures that could form.

As a born and bred San Franciscan, I feel that often times the true local voice of this city is painted over by exterior forces. I analyze satellite maps to determine where natural borders reside. I study the gold rush, Chinese and Latino regional history, and the Victorian era to see how history embeds itself into a landscape. The future repeats the past as the adversities certain populations faced shapes what the city is today.

Historical knowledge is so specialized and biased, that a majority of the population lacks a proper understanding of the Americas. I look to the ancient past to unlock keys to the future. Native ways of life that were quickly swept into prehistory are flooding the collective subconscious of today. There are secrets locked within ancient pyramids and hieroglyphic script.

Inspired by cyber punk novels and fueled by the deep bass and drums propelled at my generation through music, the future seems more real to me than the present. Flying cars, nano-technology and neo-tribalism. What I see and interpret through drawing blends street graffiti with the reawakening of ancient arts and geomancy. Toltec feng shui, Tesla coil pyramids, Hindu flying cars, genetic implant cat eyes and gills.

The technology is already here. It is simply a matter of bringing these influences into public awareness to inspire people with creative ways of reclaiming those roots and combining them with an aesthetic that embraces lost cultures and diversifies the slick, streamlined vision of contemporary design and architecture, which seems to be pulling solely from its own genre rather than building upon and enhancing some of the worlds most grand and geometrical wonders of the past.

There is much to be said for the artisans of previous centuries and millennia, who in their own time were forward thinkers and innovators. I want to offer people other choices and alternate perceptions of the direction we are heading as a society. I want to give respect to our ancestors, and help bring their wisdom into the cultures of the future.

3Satva When did you first start drawing ?

In preschool i started drawing dinosaurs and flying cars.

Were you attracted to any particular style in the beginning ?

As I grew up i was heavily influenced by comic books and graffitti.

Do you think your parents played a part in helping you to develop your art ?

They encouraged creativity, but the content of my work is largely contrary to what they're into.

What other artists grab your attention ? doze green syd mead You were brought up around a mixture of belief systems. Do you think this has helped you to see the similarities between the various systems ? i believe that the more diversity you are around as a kid, the larger you have to make your view of the world to make sense of it.

Has this had an influence on your art ?

I feel it is my duty to express the true american culture, which i think comes from taking all the cultures of the world and putting them in a blender.

Does your name have a particular meaning ? satva: In Hindu philosophy, sattva (Sanskrit sattva "purity", literally "existence, reality"; adjectival sattvika "pure", anglicised sattvic) is the most rarefied of the three gunas in Samkhya, sattvika "pure", rajasika "dim", and tamasika "dark". Importantly, no value judgement is entailed as all guna are indivisible and mutually qualifying.

3: I believe we need to evolve past duality. Very little in the world is black versus white, if you want to see in colors, you have to at least use three...

3Satva You mention cybernetics and technology. Would you say you were influenced by the 'cyperpunk' genre of writers, and if so, anyone in particular ?

Snow Crash by Neal Stephenson is the shit! I see that the future is now, its just frustrating to see that it isn't nearly as cool looking as it was supposed to. i'm sick of the silver chrome ipod bubble bullshit. What happened to bad ass looking tech?

How do people begin to reclaim their roots, or embrace a lost culture ?

I think reclaiming roots is irrelevent, within the next 100 years the majority of the people on the planet are going to be mutts. Especially in america, so it is important to embrace all cultures rather than eradicate them. Why should the world culture look like a clean shaven short haired suit wearing bland anonymos person?

If we are decendant from so many beautiful and intricate cultures, why can't we combine them to make something even more interesting? it is like the world trend is to subtract our differences rathere than combine them. Also a very important thing is the influence of media. If certain cultures could be more represented on tv and movies, they would be more readily accepted by the masses. For example, in Mexico 2 million people still speak the Aztec language, but because there are no tv stations, or other media representing them the number of speakers is shrinking rather than growing. To me this is a real shame, Imagine if Mexico turned around their perspective and turned Aztec into a mandatory language for schools? It would have incredible consequences for saving a whole way of seeing the world thought to have been lost to antiquity.

Where can people find Triad Sphere ?

It is available at indyplanet.com just search for 3satva and it will pop up Are there any more books planned ?

Definitely, but hopefully i'll have animations and video games in the works as well.

How can people find out more about your work ? www.3satva.com www.myspace.com/3satva threesatva@yahoo.com and feel free to email any questions!!

THANKS

3Satva

3Satva

3Satva

FilterKik in Catalunya

The photos on the following pages are stills from the forthcoming FilterKik video and photo set “Catalunya�. http://www.filterkik.nl

FilterKik in Catalunya

FilterKik in Catalunya

Crosstalk Festival, Hungary

Crosstalk is a year-round program dedicated to broaden the public for video art in expanding viewers’ experience in shared spaces, but it also aims to create new channels for critical discourses in opening dialogues between artists, curators and “videolovers” from all over the world. Crosstalk includes a video art festival and the video presentation series: Crosstalk video art festival is an video art exhibition, which takes place in Budapest once a year. Following the success of the 2008, the second edition of crosstalk video art festival was held at Gödör Klub on 23-28 June, 2009.

Crosstalk video art festival brings to Budapest contemporary art scene a prospective: intertwines people through art and urban environment. Crosstalk video art festival aims to create an interlock network of viewers and artists in which new forms of embodiment emerges throughout the experience of connecting art and the city.

Crosstalk video presentation series is a monthly program that aims to promote Hungarians and international video artists and open a strait dialogue between the artist and the public. Once a month an artist or a curator is invited to present their videos and share their experiences with an audience. The video presentation series takes place at Labor.

About the Media While video art is intertwined with moving pictures, it is fundamentally different. Video art explores the boundaries of the medium itself. And it is alluring because of the poetical way that video art can manipulate time – real-time and recorded simulation of real-time – and reinvent motion, people and place.

Video as an art form took root in New York City during the 1960’s alongside the advent of the camera Sony Portapak. At the time, such technology was seen as breakthrough, but it was accessible to only the artistic elite.

Nowadays, advances in technology have made video affordable for just about anyone interested in trying their hand at it. In this sense, the accessibility of technology has democratized the art form. To provide space for burgeoning video artists is a fundamental part of the crosstalk video art festival. We look to make space for exhibiting video art so that it is accessible to the broader public and noticeable as well, to get people to ask questions, to see what others have created, to become aware of.

Crosstalk Festival, Hungary Festival Program Venus Gödör Klub www.godorklub.hu/ 1051 Budapest, Erzsébet Square The program for the second edition of crosstalk video art festival 2009 will be comprised by video screenings, round-tables and video installation exhibitions.

Seeking for a democratic way in expanding the limits of the curatoral program, crosstalk video art festival, is introducing an open call for artists from all over the world, in which a selection of the works will be shown at screen dedicated specially for the proposal.

Although crosstalk video art festival is an international event, every year a country, city or region is invited to present a focused view over the local production on art videos. For 2009 Spain is the guest country. In Spanish Beats screening will be shown artworks from artists based in Spain.

Video Screenings 1. Crosstalks - A video selection based on the open call. Selected by a jury.

2. S (Student) - A video selection for students 3. Spanish beats - A video selection focus on artists based in Spain, curated by Joaquin Barriendos 4. Anthology - A video selection from the collection of MUSAC, curator: Carlos Ordás Round-tables Venus Gödör Klub, 1051 Budapest, Erzsébet Tér. Round table Collectiong and Presenting Videoart – Tecnological Limitations and Conservation Matters @ crosstalk video art festival on June 27th, 2008.

Crosstalk video art festival will present three round-tables with professionals in the video art field, such as artists, curator, collector, concerning techniques, philosophical questions and methodology of works.

The topics of the round-tables were : 26 June, 2009: Subject: Collecting Videoart. Technological Limitations and Conservation Matters.

2. 29 June, 2009: Subject: Video and media art in the hungarian and international art market.

3. 30 June, 2009: Subject: Presenting Videoart. Installing and exhibiting videoart.

Chris Getliffe

South London based artist Chris Getliffe is best known for his dark and subversive illustrations. He adopts a minimalist high impact “pop art� style heavily rooted in urban street art. He works across multiple mediums with painting, illustration and comics.

He has painted live on the walls of prestigious London venues such as Cargo and 93 Feet East. His work has been featured by the likes of Time Out, Disorder, Who's Jack and Gravity Guide. He has also produced work for Carhartt, We Hart Records, Artful and fix amongst many others.

Chris Getliffe

Chris Getliffe How long have you been drawing ?

Ever since I was all wee like, same as most people who do this I guess. The first thing I remember was the possible rather in-appropriately titled comic ‘Titch’ The Little Hitler.

Which I did when I was 8ish instead of doing any actual work for a history project. I think I got into a fair amount of trouble for that one, which was odd as I imagine I was only regurgiting what I was taught. I guess that set a president for doodling when I should have been doing ‘proper’ work. Oddly I never decided to academically study art. Something that when talking to people who did that I’m rather glad of.

Which came first - the illustrations, canvas work, etc. ?

The Illustrations, then a mate called Matt Sargent showed me how to do it all big with paints. Something I’m very glad off as it lets me put things in places which otherwise could prove a right bastard to do.

How long have you been producing comics ?

I guess about 4 years now; the comics (in fact all of this) are born from failure. I wanted to make films, that’s my background. I think I could have done some sexy stuff in that medium. But you can’t get funding, especially in the UK, and for films funding is something you need a lot off. Working in that industry as a runner, or camera op or whatever is soul destroying, so the logical step for me was to try and go into photography. To get people to look at my photo site I did these crude little mini comic flyer type things, just to get some interest up. No one gave a rats arse about my photos, but they liked the comic so it all kinda snowballed from there.

How do you distribute them ?

There are fun supportive shops across the UK (& even the world) that are happy to take work from an Indy distributor. So you slowly build on that and find new venues, along with selling them on my Kitchen District site. The comics don’t make a profit even with my print runs hitting towards the 1000’s now it’s still not enough to print them cost effectively, especially as shops take a hefty commission (apart from Orbital who are lovely). So they’re just a way of telling fun stories and expressing what’s in my head. I always feel fantastic when people sacrifice hard earned booze money to read them.

Chris Getliffe

Chris Getliffe

You've done wall paintings for London venues such as Dirty South, the Deptford Arms and Cargo. Have these been useful in getting your work known ?

In all honesty I have no idea, I’m never sure what leads to what. But they’re fun to do. I like the fact my work ‘exists’ around people in these places. That people have done the dirty; got their harts broke, or even just had a reflective one against or around my pieces I find exciting.

You have various upcoming events, e.g. the Tank Gallery, LUC, Cut Click & the Alternative Press Fair. Can you tell us a little more about these ?

Sure, I’ve got quite a few shows coming up or going on at the moment which is fun, the Tank Gallery in Ladeywell is my first solo show, and thankfully from what I understand it’s going well. The LUC (which has been, and unfortunately I missed due to lergy) and The Alternative Press Fair are where I go to pimp my comics and meet like-minded people. I’m also doing some live painting on the 19th of July on the South bank as apart of CTrl + Alt + Del event, which should be exciting. There’s more stuff on the go, so check my site if you’re interested.

Are you available for custom work ?

Kinda, if someone wants what I do for a reason that doesn’t make my spine go funny then yes. I do get some strange requests though, I keep getting emails asking if I’d paint someone’s wife (& it’s always the wife) which I find strange as with my minimalist style it would hardly be a good likeness. I don’t do stuff like that, but otherwise if it’s a fun idea, I’m up for it.

Any parting thoughts ?

I just think it’s a really exciting time now for anyone doing things DIY, there’s such a great support network now that you can get your work out there in a credible fashion, & even make a ‘Job’ from it. Things are getting interesting indeed. Fantastic.

Chris Getliffe

www.getliffe.com www.kitchendistrict.com

Laurier Tiernan Described by fans as a "cross between the Dead Kennedys, the Violent Femmes and Weezer," Canadian singer-songwriter Laurier Tiernan has managed to gain considerable radio airplay without the help of a record company.

"In February 2008, a radio DJ acquaintance heard and liked my single 'The End of the World' so much that he offered to play it once on Inter FM 76.1.

The listener and station-staff feedback was so great that it jumped into regular rotation the same day as it debuted."

Positivity snowballed and Tiernan has managed to get his demo on more than 162 radio stations worldwide.

Avoiding the record-label path, according to Tiernan, "gives you complete artistic control, and that is important to myself and many other artists . . . they have insisted from day one that they retain those rights. It's especially important if you are someone who has a clear vision of what you are doing, and what you are setting out to do."

Tiernan sees the online music revolution as "making the tools of production and promotion available to anybody and everybody" and having made the industry much more democratic. But he still believes that good music should be worth paying for, adding that, "Consumers have a conscience. If something is good, they feel a need to give something back."

Optimistic about future business models for the music industry, Tiernan believes that distribution deals like Serj Tankian (from System of a Down) has with Warner will become more and more popular as the major labels realize there is a lot of talent doing it on their own.

"Serj, like many artists, understands that many major labels try and take a lion's share of the profits from an artist as well as a good deal of creative control. Using the fame he gained from System of a Down as leverage, Serj decided to release his solo album through an indie label he set up called Serjikal Strike, and then negotiated a distribution deal with Warner Bros.

This way, he would be free to create the album he wanted to create, and wouldn't be giving away so much of the profits. But at the same time he could still benefit from having a major label place his record in the chain stores, etc."

Laurier Tiernan How did you get started as a singer-songwriter ?

Oh, it started as soon as my mom bought me my first Sears guitar when I was 17. As soon as I learned "House of the Rising Sun" I basically stopped learning covers. I got myself a book full of chord diagrams and I was off and running.

What inspires you to write ?

I used to be inspired by misery, but that got me too miserable. lol. Then I went through a big political phase of trying to expose things and get people to talk about them. Lately though, I'm trying to live the words of Ghandi, "Be the change you want to see in the world." I guess I am inspired by my continuous challenge to be compassionate and progressive in a world that can seem lazy and uncaring (at best) at times.

What other bands or musicians influence you ?

"Influence", in the present tense? I'd say that anything that makes me stop dead in my tracks and say, " THAT is great song writing!" It can be anything from Robyn's "Konnichiwa Bitches" (even though it was racist), to "Total Eclipse of the Heart" by Bonnie Tyler, to "Fedallah's Hearse" by Propagandhi. In terms of bands per se, I really get inspired by Jawbreaker, Propagandhi, Pet Shop Boys and most recently Thorns of Life who's first album is coming out soon I hear.

You're a gay, vegan Canadian living in Tokyo. How do you find that ?

I'm bi; not 100% gay, although a recent facebook quiz (authorities that they are) told me I am 65% gay.

The queer thing in Tokyo is really okay. Generally Japanese people are really down with it; at worst they see it as entertaining. Actually, a lot of their most famous entertainers in the media are gay, if not transvestites. Also, Tokyo has a really neat queer district.

As for the veganism, it can be challenging, but it's getting better. It's funny, once upon a time, veganism was the law in Japan. Also, there are more vegetable markets and tofu stores per capita here than any other place I've been, so it CAN be easier to be vegan here if you make everything yourself. People encounter problems when they eat out or buy prepackaged foods, because it seems like Japanese companies sneak animal products into everything. I joke that there's even pork extract in the average fruit cup. It's not that bad, but it's close. In terms of restaurants though, there are great things happening more and more in greater Tokyo like Deva Deva CafĂŠ in Kichijoji, Alishan Organic Center in Koma, Chien Fu in Kunitachi and It's Vegetable in Kinshicho.

Why did you end up moving to Tokyo ?

6 years ago as I was graduating from music school, a buddy was building two-eight studios in Saitama, and invited me to come out to record. I did and I liked it here, so stayed.

Your single, 'The End Of The World' has generated lots of radio play worldwide. What has the feedback from that been like ?

Yeah, it has indeed gotten a lot of airplay. The feedback has been great. Even people who "don't agree" write me emails to tell me that the song has been stuck in their head for days, and they tell me to keep it up.

Laurier Tiernan Your series on YouTube, 'How I Am Getting My $7,000,000 Recording Contract!' is fascinating and I am surprised it hasn't been done before. How have you found the whole process ?

Thanks for the compliment. It came about as the result of an epiphany I had back in December 2008 about that guy who kept a blog about his quest to trade a paperclip for a house, and he got it. I thought, if you want something badly enough, and you commit to making it public, people are excited by that and the goal comes to you more easily as a result of people wanting to participate.

The process has been a wild roller coaster of blessings and horrors, mostly blessings, and it's been an amazing process of discovery, about myself, about the music industry and about life in general.

What is the current situation regarding getting a record contract ?

Well, King Records (a Japanese major) have offered me a distribution contract, providing that someone else prints the record, I've met with Universal (Japan) a few times, and we're meeting again soon. I'm also waiting on a reply from a few Canadian indies that I like.

Do you believe that you actually need a record contract ?

That's a good question. A woman at Warner (Japan) actually told me that I don't. lol. It's been a goal of mine for many years, although I hadn't actively pursued it until recently. Some goals in life I have realized weren't worth pursuing, but this one is just an experience I want to live. I can't explain it. It's funny though, one of my ex-bassists opined that he thought I will probably end up making more than $7,000,000, even without a record contract.

With the current online music revolution, it is, in theory at least, easier than ever to succeed without a major label. Are you not tempted to follow, e.g. the D-I-Y ethos of some punk and techno bands and just strip out the middle-man ?

Yeah, a few business people have offered to start an indie with the primary purpose of selling the album I will be releasing this year. Then King would distribute it in Japan and I could look into other options for the rest of the world. It's funny because when music first hit me in my early teens, I was almost simultaneously influenced by punk rock and (literally) gay pop, so I'm often torn between the D.I.Y. and the glossy mainstream.

The demo is currently sold in home made mini "record" sleeves that I make out of reused beverage containers, and I intend to silk-screen the first run of the album myself, so I definitely have one foot in the D.I.Y. How do you think the music industry will adapt in the future ?

Good question. I think things will start happening really really fast. Many majors may crumble. (Ooh, I like the alliteration there. That might become a lyric.) People might start showing up at shows for brand new buzz bands, with audio and video recording gear, offering to produce "product" on the spot and sell it online hours later. Basically I think media will be produced and consumed faster. I was watching the way people ate up the Youtube videos of the first Thorns of Life shows, and thinking, "mmm, we are on the brink of a revolution here."

The video for “The End of The World”, plus “You Will Die As I Have Lived”, a track from the new EP as MP3 are both available on this issue's Kikked! CD.

Laurier Tiernan You have some music videos planned for the summer. Can you talk a little more about those ?

When I predicted that, I didn't realize things would happen so quickly. The video for (the acoustic version of) Epiphany and the video for The End of the World have already been released. Both can be enjoyed on Youtube, and the latter is soon to be hitting TV stations all over. I think it may already have aired on b-Tv in Berkeley (California) and Sky Perfect in Tokyo. There is another one coming down the shoot in a few weeks that I am REALLY excited about. It's a video for You Will Die as You Have Lived that is being directed by English CG artist Tony Lymboura ( http://www.lymboura.com ) and Andrew Spooner. They both used to work for Jim Henson productions, so I imagine we can expect something delightfully wacky and possibly slightly twisted.

Your debut album is released on August 1 (the same day as Kikked!) - what are your hopes for that ?

It's looking like it may be delayed by a month at this point; September 1st looks like a more probable release date. My hopes are huge, and I'm making them happen every day. The album will get even more airplay than the demo by virtue of being more rehearsed, with better musicians, and also there are some killer songs slated for the track listing that the public hasn't even heard yet. People will definitely go, "where did this guy COME from?" lol. I'm hoping to use it to facilitate touring all over America, Canada, Europe and Japan.

What online sites or tools have you found most useful in promoting your work ?

Myspace was very useful for a long time and it still is in the way of an EPK, but I find that it might be dying as a networking or promotional tool. Youtube has been great, but what's been the best are journalists and magazines like yours who have taken an interest in what I do. That's really where people have perked up their ears.

How can your fans stay informed of your activities ?

You can check the myspace, facebook and twitter. I'm on a lot of other sites but I don't update them as much. The $7,000,000 series is good as well because it gives you a weekly play-by-play of what's going on with me.

Any parting message ?

I'm signed up for a songwriting competition called Worldsings, and voting is going on until the end of this year. The top 20 people who've accumulated the most votes will be given $20,000 and flown to Las Vegas in order to compete for up to $500,000. I'm not in it for the money per se, but it's what I do for a living (i.e. I'm not a doctor or a plumber) so I do appreciate the help of my fans and supporters. If you want to vote for me, you need to sign up for a free account (just like on myspace or facebook) and then you can follow this link to vote. http://www.worldsings.com/videos/id_1029/title_the-end-of-the-world/ Thanks for reading this interview. :)

www.myspace.com/lauriertiernan http://www.youtube.com/sevemilliondollars http://twitter.com/laurier_tiernan www.facebook.com/pages/LAURIER-TIERNAN/45910594217

Reykjavik International Film Festival The Icelandic film festival has been generating a buzz since it was founded in 2004, due to its bold slate of unconventional indie film from artists on the rise, fascinating talks and master classes by such film-makers as Atom Egoyan (Oct 4) and critics like Gerald Peary (Oct 2). Movie tickets cost £6, talks up to £15, though some are free. This year Paprika Steen, the Danish actress who has just finished directing her second film, will be making an appearance. The World Changes section of screenings and talks takes a look at environmental issues.

After catching the latest wave at arthouse cinema Tjarnarbio, visitors can retire to one of the city's infamous bars on Laugavegur street, such as late-closing Sirkus. The international culture-vultures who attend also relish the chance to soak in the balcony hot tub at the Sundhöllin pools (where films are sometimes shown) on Barónsstíg street, a great place to recover from the festival parties.

RIFF has already confirmed about 30 films at the festival this year. Among them is the greek film Dogtooth, which won the Un Certain Regard - award at Cannes 2009. It is about a malfunctional and strange family that barely goes out of their house.

The film Crude will also be shown at RIFF '09. Crude wan a documentary film award at the Sundance Film Festival 2009 and is an epic story about one of the most complicated lawsuits in the world. It is made by Joe Berlinger which also made Brother's Keeper and Paradise Lost.

The film Dear Zachary is also confirmed but that one has gotten excellent reviews from media all over.

It is an american film for a boy named Zachary who never got to meet his father, since his mother killed him while pregnant.

Iceland Express and Express Travel offer travel packages to the Reykjavík International Film Festival for 3, 5 or 7 night from London, Copenhagen, Berlin and Varshaw. Included in the prices in packages : Flight, hotel with breakfast and a festival pass to screenings and more. Hotels in Reykjavík City center: Park Plaza and Arnarhvoll hotel. Reykjavík International Film Festival is looking for volunteers for this year's festival. The festival could not take place if it were not for the hundreds of volunteers working with them. Volunteers can be asked to do lots of things, assisting guests, planning parties or even watching movies to make sure they are running right. If interested, please fill out the entry form on the RIFF website.

http://riff.is/EN/

Burning Man Burning Man is an annual experiment in temporary community dedicated to radical selfexpression and radical self-reliance.

Burning Man will be held in the Black Rock Desert, 120 miles north of Reno, Nevada. The towns of Empire and Gerlach serve as guardians of the desert region. Burning Man is always held the week prior to and including Labor Day weekend. In 2009 the dates are Monday, August 31st to Monday, September 7th.

Past themes have included Fertility, Time, Hell, Outer Space, The Body, The Floating World, Beyond Belief, Vault of Heaven, Psyche, Hope and Fear, The Green Man, and The American Dream. The theme for 2009 is Evolution.

It is interesting to contemplate a tangled bank, clothed with many plants of many kinds, with birds singing on the bushes, with various insects flitting about, and with worms crawling through the damp earth, and to reflect that these elaborately constructed forms, so different from each other, and dependent upon each other in so complex a manner, have all been produced by laws acting around us. These laws, taken in the largest sense, being Growth with Reproduction; Inheritance which is almost implied by reproduction; Variability from the indirect and direct action of the conditions of life: a Ratio of Increase so high as to lead to a Struggle for Life, and as a consequence to Natural Selection… There is grandeur in this view of life, with its several powers… and that, while this planet has gone cycling on according to the fixed laws of gravity, from so simple a beginning endless forms most beautiful and wonderful have been and are being evolved.

— Charles Darwin, The Origin of Species Nature never made a plan, nor does it seem to copy very well. No living thing is ever quite the same as others of its kind. Charles Darwin called this Natural Variation. There is a kind of subtle chaos, a supple element of chance and change, residing at the core of living things.

We've learned that DNA, the code that programs life, is subject to continual mutation. This enables generations to evolve within a changing world. This year's art theme contemplates the power and the meaning of the process we call evolution.

When at last I had disabused my mind of the enormous imposture of a design, an object, and an end, a purpose or a system, I began to see dimly how much more grandeur, beauty and hope there is in a divine chaos – not chaos in the sense of disorder or confusion but simply the absence of regular order – than there is in a universe made by pattern. This draught-board universe my mind had laid out: this machinemade world and piece of mechanism; what a petty, despicable, micro-cosmus I had substituted for reality.

— Richard Jefferies At bottom every man knows well enough that he is a unique being, only once on this earth; and by no extraordinary chance will such a marvelously picturesque piece of diversity in unity as he is, ever be put together a second time.

— Frederick Nietzsche www.burningman.com

Introduction to the magical world of Flamenco

With this brief introduction we try to make a short historical overview of Flamenco art, for people interested in launching it.

In future articles we will husking and detailed various aspects of this art was born and exported from Andalusia.

The disaggregated components anthropological, historical, social and musical. The Flamenco, who was known for more than two centuries of existence (ie as Art constratado historically) has been divided into the following stages: the Age HermĂŠtica the Cafes Cantantes, the Flamenco theatrical, Festivals and the present, where -in its own right, took a place among the indigenous music universal.

Being comparable in importance to the very Jazz. There are currently no country in the world where it is recognized, valued and appreciated the flamenco music. Mainly in countries like France, USA and Japan there is a true fever for the Flamenco. Artists are required to operate continuously and fill theaters with locations sold weeks in advance.

Among the earliest written references of which we are aware of the Flamenco is the SerafĂ­n Estebanez Calderon (1799-1878) who signed his articles as "El Solitario". This is an event that witnessed in the Triana district of Seville and the title "Dancing in Triana."

As a key area in their origins, we can determine that the Flamenco born in Lower Andalusia. Specifically in the triangle formed by Jerez, Cadiz and ports, Triana and Seville. With the remarkable contribution of people such as Lebrija, Utrera, Mairena del Alcor, Alosno, AlcalĂĄ de bakers ... ...

We leave here for now, you go in successive contributions husking the birth, development and evolution of Flamenco art, leading to its present splendid.

From Seville, the birthplace of Art, a cordial greeting.

Juan Luis Franco - Sevilla / Spain in August 1 2009 www.tomadehoras.blogspot.com/ www.photohispalis.blogspot.com/ www.youtube.com/nonovallet

Introduction to the magical world of Flamenco

An American Artist In Italy

James Dillon Wright is a contemporary artist, graphic designer and illustrator who emerged from the west coast art scene. Born May 29, 1979, native to the city of Phoenix, Arizona. Dillon is an internationally known American artist. The son of a real estate agent (Rod L. Wright), he trained as a graphic artist but became involved in fine art during the Las Vegas art scene in the early 2000’s.” His works are often considered glamorous and bright pieces of art on topics such as celebrities, politics, culture, and commercial products, which has been labeled as Americana. He also paints and constructs large scale paintings. His commercialized style, which combines street art with a distinctive graphic design technique, with subjects similar to Andy Warhol, although Warhol used the screen-print process. Dillon's work was born out of the Las Vegas underground scene which involved collaborations between artists and musicians during “First Fridays” (an art show showcased in Downtown Las Vegas). Dillon’s art has since appeared in cities around the world.

James Dillon Wright is one of those who think that destiny is ours to lead, and his painting expresses that precise feeling with great strength. In a flamboyant and striking style, he reinvents the art of the portrait making his the best part of what has been produced in painting during the last 30 years: pop art, abstraction, graph, this ultra gifted painter invents every time a little further. And if he spent most of his life in Las Vegas, he recently moved to Italy, where the influence of the Great masters was soon to show in his latest paintings, always more subtle and thorough. I am sure James Dillon Wright will surprise you through his inventiveness, do not miss this great artist, you'd be sorry. Dillon is a pioneer in pop art culture; shaping contemporary art into Ultramodern Art. Excelling in the arts since childhood and winning awards since age 11, Dillon has been committed to producing cutting edge fine art for his attentive audience...

Born and raised in the suburbs of Phoenix, Dillon attended private art lessons at 9 years of age. As a child, Dillon spent most of his days creating art of famous icons and composing music with friends. His first professional sale, at the age of 14, was followed by entertaining audiences through painting live at gallery exhibits. Upon completion of high school, Dillon’s time was divided between painting large scale portraits of celebrities, recording his own underground music, and acting in local independent films.

An American Artist In Italy Dillon turned from a local sensation to international success in 2004 when his artwork was revealed through online auctions and illustrative websites around the world. His work has been showcased in galleries throughout the United States and Southern Europe.

Dillon’s work reflects exposure to the variety of cultural and physical environments that he has encountered while experiencing life and the dilemmas of his contemporary existence; that possibly even mirror the lack of self worth developed as a mere mortal.

The origin of Dillon’s style began with his attraction towards the nature of charisma and the immortality within. Much of this was acquired from the influential elements of youth and the hunger for recognition throughout his childhood. At an early age he learned to admire the magnitude of greatness derived from extraordinary minds. Dillon began to idolize the characteristics of fame. He also found pride and confidence in replicating symbolic images of our leaders and pioneers throughout our history. This early-staged insight afforded him the passion to dream big and the drive to achieve it.

Artist Statement My artwork is everything I want and the sum of what I give. It is everything I am and everything I am not. It is my backbone and my instability, my insecurity and my ego, my uncertainty and my optimism.

It reveals my fears, obsessions, and beliefs. It contains my yesterday, my reflection, and my life. It is my passion, my history, my hunger, and my indulgence. My art is where I’ve been, where I’m headed, where I need to be, and where I shouldn’t go. It embodies a balance of what I’ve seen, heard, touched, smelled, and dreamed of. It has a heart-beat. It’s a work in progress, an evolution, a movement, and remains free of limitations. It’s the beginning and the end of a transition, and so much more than a perspective. It’s my artwork, and expressing it, is expressing me.

An American Artist In Italy

An American Artist in Italy Hollyworx is proud to announce the premier release of An American Artist in Italy, a limited edition print of 100, signed and numbered. Inside this book are dazzling scenes that evoke a "Wish You Were Here" postcard kind of marvel. As you turn the pages you will feel the jet-setting kaleidoscope on a kick-your-heels-up road trip! Journey on, while riding shotgun with the American-based artist through his book of unbridled creativity.

Dillon’s perspective on life in Italy is seen for all its depth and placed in context as art, design, philosophy and doodles. This illustrative book pulls you from your seat and lets you scour the lands and cities of Italy as well as the artist's mind. His travels are illuminated and the evidence is clear that DILLON is not one to rest on his ambitions. For both long time fans and those just curious to know what this DILLON is all about‌ An American Artist in Italy is the answer.

144 pages, Full color, Soft cover (Size: 8.5 x 11) Signed and Numbered 1-100 Gallery Retail Price $39.95 Find them at a great price here... http://stores.shop.ebay.com/Hollyworx www.hollyworx.com/ www.myspace.com/hollyworx

XV Expo Tatuaje, Mexico

XV Expo Tatuaje, Mexico September sees the XV Expo Tatuaje take place in Guadalajara. The event is organised by Sammy Ramirez and his family. Sammy has the distinction of being the owner of the first legal tattoo studio in Mexico, and has over 29 years experience in the industry. Over the next pages, Sammy talks about his experience as a tattooist and shares some memories and pictures from the 2008 Expo Tatuaje.

Biography Sammy Ramirez Sammy Ramirez is 48 years old, and originally from Guadalajara Jal, MĂŠxico, and has 29 years experience in the tattoo industry, including organising 14 tattoo exhibitions, 3 times as advisor to rock Expo International, a participant in most of the conventions of the Mexican Republic , and work in both Europe and the USA. During the 70s, tattoos were made in a traditional form. With the classical china ink and thread the needle with the tip attached to a popsicle stick and with asian tattoos with very thick lines.

With this style I got several tattoos, the first was in 1974 at the age of 14 years.

Later on in the neighbourhood, I met Aurelio GarcĂ­a (el Guello) who worked with this method and in '77, myself and my partner went to tattoo, to remember that nothing was more like 20 designs to choose from, and almost brought the entire neighbourhood tattoos themselves for lack of variety.

Back in the 80s after my trips to Tijuana and Anaheim California, we made homemade or rotary machines with which we started to tattoo the first banda in the house and neighbourhood, then it all became a pariah in Guadalajara, where there were concentrated at that time several tattoo shops, but all working with machines without gloves and where AIDS was a distant rumour. As early as '89, we were able to get good professional machines and good pigments, but not all tattooists wanted to stop using the old methods. And in the '90s, contact with other tattooists was only beginning in the Republic, through regular visits or letters because no one had phone and internet. We began to organise to establish guidelines for health insurance for tattooing, which now we all know, and tattooing began to spread nationwide through the expos or conventions in different parts of the Republic. Today, there is no longer secrets or distances to the media, thanks to the ease of communication technology. Previously to get some reference material concerning tattoos was very difficult.

Today there are more than 20 national distributors of it, have used the medium of the tattoo for 29 years, if we start from 1980, when I tattooed in Tijuana in a professional studio called the Penny Gold.

He helped people see tattoos as an expression and not a violation, and will continue with my grain of sand to the dignity of this ancient practice by disseminating the culture of tattoos, his friend Sammy.

The origin of the tattoo is lost in the mists of time, since that is as old as humanity itself, in fact it is believed that humans first learned to tattoo, and then to speak, without exception, all cultures have used tattooing giving different order of expression, as the tattoo does not change people or personalities is just a way of communicating the secrets of the soul.

www.sammytattoo.com www.myspace.com/sammytattoo

XV Expo Tatuaje, Mexico Radiografía a Sammy Nombre: Sammy Ramírez de 48 años, originario de Guadalajara Jal, México, con 29 años en el medio del tatuaje, 14 expos internacionales organizadas, 3 ediciones como asesor de Expo rock Internacional, participante en la gran mayoría de las convenciones de la república mexicana, trabaje en Europa y USA. En la década de los 70s el tatuaje se elaboraba de una forma rustica. Con la clásica tinta china y la aguja con hilo en la punta, sujetada a un palito de paleta y así se asían los tatuajes con líneas muy gruesas, con este estilo yo me puse varios tatuajes, el primero en el 74 a la edad de 14 años, Más adelante en el barrio conocí a Aurelio García (el Guello) quien trabajaba con este método y en el 77 acudimos el socio y yo a tatuarnos con el, recuerdo que tenía nada mas como 20 diseños para escoger, y casi todo el barrio traía los mismos tatuajes por falta de variedad.

Ya en los 80s después de mis viajes a Tijuana y Anaheim Ca., pudimos hacer maquinas caseras o sea rotativas con las que empezamos a tatuar a la banda primero en la casa y el barrio, posteriormente todo comienza en el Parían de Guadalajara, donde se concentraron en aquel tiempo varios talleres de tatuajes, pero todos trabajando con maquinas hechizas y sin guantes ya que eso del sida era un lejano rumor, Ya en el 89 pudimos conseguir maquinas profesionales y buenos pigmentos pero no todos los tatuadores querían dejar de usar los métodos viejos, ya en los 90s se empieza a tener contacto con otros tatuadores de la república por medio de visitas o cartas ordinarias porque nadie tenía teléfono y no había internet, y empezamos a organizarnos para fijar los lineamientos de higiene para tatuar seguro, que ahora ya todos conocemos y así empezar a difundir el tatuaje a nivel nacional por medio de las expos o convenciones en diferentes partes de la república, hoy en día ya no hay secretos ni distancias dentro del medio gracias a las facilidades de la tecnología de la comunicación, anteriormente para conseguir algo de material referente al tatuaje era muy difícil.

XV Expo Tatuaje, Mexico Hoy tenemos más de 20 distribuidores nacionales del mismo. Llevo 29 años dentro del medio del tatuaje si partimos del 80 cuando me tatué en Tijuana con maquina profesional, en el studio el centavo de oro. He ayudado a que la gente perciba el tatuaje como una expresión y no una transgresión, y seguiré aportando con mi grano de arena para la dignificación de esta práctica milenaria, por la divulgación de la cultura del tatuaje, su amigo Sammy.

El origen del tatuaje se pierde en la oscuridad del tiempo, ya que este es tan viejo como la humanidad misma, de hecho se cree que el ser humano aprendió primero a tatuarse y después a hablar, todas las culturas sin excepción han usado el tatuaje dándole diferente fin de expresión, ya que el tatuaje no cambia personas ni personalidades es solo una forma de comunicar los secretos del alma.

XV Expo Tatuaje, Mexico

XV Expo Tatuaje, Mexico Without a doubt it has been confirmed to be the best tattoo expo of the country! Staring on Wednesday, September 10th, we began with the Temazcal ceremony. In the spring forest we had more than 30 participants. Fellow tattoo artist that goes by the name of Tigre accompanied by two others, were in chargeof bringing us all together in life and rebirth. We pushed ourselves to go all day without food or water as part of the ceremony. We ended our day in sweat and singing with all of our brothers.

On Thursday September 11th we returned to the forest to begin with the body suspension ceremonies.

40 people showed up to give support to those who were suspended from different parts of their bodies.

A total of 13 people were suspended that day.

At 11:00 am on Friday of the 12th, the seminars began. They began with the pros and cons of Ambiderm products following with the RCP seminar hosted by David Ramirez, paramedic. After that, Gerardo Rito, Edmund Caro, and Zekta started the body modification seminar. 9 o'clock pm started the traditional welcoming party at Salon La Mutualista where all the invited tattoo artist and guest get together for great music, dancing, and of course a few drinks!

On Saturday, September the 13th, we began the show with the song of Miguel Mateo’s, the welcoming song, to motivate the exhibitors. Little by little the visitors began to arrive. To most, this was one of the mostly waited for event of the year! Two thousand magazines sponsored by “Tattoos and Perforations”, the first tattoo magazine in Mexico were given to all the exhibitors and general public.

Some of the best tattoo artist from all over Mexico and the rest of the world grazed the magazine such as: Diego and Clarens Monroy of Low Rider Tattoo, USA, Sum and Moroko from Up-Rise in Japan, Gianka of Italy, Sky Tattoo of the USA, Jeff and Brandon Hernandez from Monkey King of Canada and our friendly Horimitsu and Horiyamato of the Horitoshi Family of Japan. To begin the program Han's Limbus and his equipment began with his drums and bagpipes, they dressed like real Vikings. The sound of good music and tattoo machines enlightened the crowd. while that went on there was an art fusion involving Benja from Dermafilia, Güero Galician from Mortal Ink, Johnny Chingas from Tatuaje de Reyes, Giovanni Plancarte from Dark Side, Fernando Diaz of Sacred Heart, the Fat of Tattoo Evolution and the compass of Vudú Tattoo. After the fusion followed the group “Comal and Tizne”, a hip hop group with nine members. Throughout the whole weekend, photographer Edgar Hoill partridge his photos of urban life in the underground world of hip hop, gangster and tattoo related imagery.

XV Expo Tatuaje, Mexico

It couldn’t have turned out the way it did without the help and distribution from companies such as Soul Flower, Tattoo Mex, the fire don, acrylic, and radiant colours. As far as medical equipment, in case some exhibitor needed something, there were companies supplying everything needed to get the job done. The surprise visitor was John Kamikaze which made a formal appearance in support of the event and was photographed with whichever fan requested it. As far as the art of air brushing by Martin and the Black were the ones in charge of showing the public their great techniques perfected and in support of the event, they raffled off one of their original airbrushed paintings.

For the contests, the daughter of tattoo artist the cat, from tattoo studio Chilangolandia in Mexico City was the one in chargeof giving out the trophies to the winners of the contest. The ones deciding which pieces were to win in this year’s tattoo contest were Guello from Guadalajara, Giovanni of Morelia, Sky from the US, Chocky from Guadalajara and George of London. Before them stood some of best tattoos in Guadalajara. After all the awards were given I grant a special reconnaissance placard to the Horitoshi Family for their support to this convention. Music from the Palapa, Black Horse, Psychostacia, and Article 33 were part of the main attraction with heavy metal music and Ska. Fortunately, there were no mishaps. Only great times with great people! I am hoping that everyone will support the number 15 because it is going to be none the less but a great event!

Your friend, Sammy Ramírez http://www.sammytattoo.com http://www.myspace.com/sammytattoofamily

XV Expo Tatuaje, Mexico

XV Expo Tatuaje, Mexico

Warhol’s Wide World

Ethel Scull 36 times, Andy Warhol, 1963, lent by the Metropolitan Museum of Art, Jointly owned by the Whitney Museum of American Art and The Metropolitan Museum of Art, Gift of Ethel Redner Scull, 2001 © © 2009 Andy Warhol Foundation for the Visual Arts Inc. / Adagp, Paris 2009

Warhol’s Wide World National Galleries of the Grand Palais : 18.03.09 - 13.07.09

An exhibition organised by the Reunion des Musees Nationaux in collaboration with The Andy Warhol Museum, Puittsburgh. Sponsored by LVMH / Moët Hennessy . Louis Vuitton In 1962, Andy Warhol painted the portraits of Marilyn Monroe and her rival Liz Taylor, reinterpreted the Mona Lisa and Elvis Presley. From 1967 until his death in 1987, he produced commissioned portraits of dozens of personalities, famous or obscure, creating a world fascinated by appearances, a vertiginous flattering mirror. He revived a neglected genre, applying new codes which deeply marked the history of portraiture.

Alongside film and rock stars (Brigitte Bardot, Jane Fonda, Mick Jagger, Sylvester Stallone), we find portraits of artists (Man Ray, David Hockney, Joseph Beuys, Keith Haring), collectors and art dealers (Dominique de Menil, Bruno Bischofberger, Ileana Sonnabend, Leo Castelli), politicians (Willy Brandt, Edward Kennedy), fashion designers (Yves Saint-Laurent, Sonia Rykiel, Hélène Rochas), businessmen and jet-setters (Gianni Agnelli, Lee Radziwell, Princess Grace of Monaco, Gunther Sachs). Famous or less famous, they all glow with the aura of Warhol’s genius.

In this series, Warhol painted a picture of an entire society and invented a new form of artistic production – serial and almost mass produced. In his studio, “The Factory”, Andy Warhol developed a systematic process in the early 1970s: he made up his models and photographed them with a Big Shot Polaroid (the Warhol Museum in Pittsburgh has several hundred of these photos, some of which will be presented in the exhibition). He carefully selected the shots, then painted and silk screened the portraits.

Warhol’s Wide World

A selection from the thousand or so portraits that he painted from the early 1960s onwards is here presented by themes focusing on the key points in Warhol’s work: Self Portraits, Screen Tests, Mao, Dollars, Disasters, The Last Supper…, which situate them in a retrospective view of his production.

In 1979, the Whitney Museum exhibited about fifty of these paintings, but since then – despite the fact that many of them have become “icons” – they have not been shown in a single-artist exhibition. With the aim of recreating the effect of the principle of repetition which Warhol had in mind when he painted them, the Galeries Nationales du Grand Palais is presenting, for the first time, this large set of paintings which constitutes an unprecedented archive in the history of painting and photography.

“All my portraits have to be the same size, so they’ll all fit together and make one big painting called Portraits of Society. That’s a good idea, isn’t it? Maybe the Metropolitan Museum would want it someday.”

Curator : Alain Cueff, professor at the University of Lille III and at the Rijksakademie, Amsterdam In collaboration with Emilia Philippot, heritage curator, Réunion des musées nationaux Scenographie : Didier Blin Graphism and signaletics : Ruedi Baur

Warhol’s Wide World

Multitouch-Barcelona

A recently born interaction design group that explores natural communication between people and technology. Multitouch-Barcelona design experiences that merge real and digital into a creative environment where people are invited to touch, play, move and feel as they do in the real world.

Multitouch-Barcelona

Multitouch-Barcelona

http://www.multitouch-barcelona.com

Multitouch-Barcelona

www.multitouch-barcelona.com/

Born In The Streets - Graffiti

Beginning July 7, 2009, the Fondation Cartier pour l’art contemporain will present Born in the Streets— Graffiti. The show will reveal the aesthetic vitality and geographical magnitude of this artistic movement, still largely clandestine and unknown to the general public. The exhibition will revisit the birth of graffiti, analyze its codes and techniques, and present the movement’s major figures, focusing on the artists who contributed to its explosion, its diffusion, and its recognition by the contemporary art world.

It will also highlight the principal artists that make up the international graffiti scene today: Basco Vazko, Cripta, JonOne, Olivier Kosta-Théfaine, Barry McGee, Nug, Evan Roth, Boris Tellegen (Delta), Vitché, and Gérard Zlotykamien.

For this exhibition, the Fondation Cartier has published a work of reference which first re-examines the birth and evolution of the graffiti movement in early 1970s New York, as well as its arrival in Paris, the European center for graffiti in the 1980s. The book includes photos by Martha Cooper, Henry Chalfant, John Naar, and many previously unpublished photos, as well as press articles and blackbooks.

The catalog also provides a panorama of the different aesthetics of cities like New York, Paris, Hong Kong, and São Paulo. Presenting works by artists participating in the exhibition as well as photographs they took in their own city, the catalog illustrates the specificity of each city’s style as well as the diverse practices of contemporary artists with roots in the graffiti or post-graffiti movement.

Richly illustrated, the catalog begins with a text by Richard Goldstein, one of the first critics to recognize graffiti as an art form. It also brings together several interviews with writers who influenced the movement: Coco 144, P.H.A.S.E. 2, Mare 139, Seen, Lady Pink, Ket One, and Jayone. These texts will shed new light on this artistic movement and the major stages of its evolution, while reinserting graffiti into the context of urban street culture to which it has always been inextricably linked.

Born In The Streets - Graffiti

Born In The Streets - Graffiti

http://fondation.cartier.com

Born In The Streets - Graffiti

II Kase (Elkay) par Kase 2, Photo Henry Chalfant, 1980, Courtesy Martinez Gallery

Joâo Wainer Sao Paulo, 2009 Exhibition Born in the streets - Graffiti Fondation Cartier pour l’art Contemporain, Paris, july 7 – november 29, 2009

Gangs Of The 80’s

Poster of the film "Yo, El Vaquilla" José Antonio de la Loma, 1979

GANGS OF THE 80s.

Cinema, press and the street From 25 May 2009 to 06 September 2009 This exhibition, organized by Amanda Cuesta and Mery Cuesta, offers a view of juvenile delinquency cinema, which peaked between 1978 and 1985, focusing on its relationship of retro-feeding with the press of the time. The exhibition also acts as a faithful reflection of the urban, social, political and economic transformations that were sweeping through the country at that time.

The starting point of «Gangs of the 80s» is the figure of the juvenile delinquent formed by the phenomenon of juvenile delinquency cinema. The codes of representation of juvenile delinquency found in this cinema genre have continued to the present day in such a way that the stereotype of the juvenile delinquent, subject to an aestheticising process, continues to excite fascination.

The neighbourhoods of the sixties: industrial areas, unemployment and depression During the sixties, emergency social plans were launched to combat the lack of cheap housing. The result was low quality urbanism with neighbourhoods lacking in the most basic services, which gave way to the appearance of neighbourhood movements. The crisis of the seventies and unemployment transformed these neighbourhoods into the germinal territory of the juvenile delinquent.

New forms of leisure This generation of young people participated, for the first time in our country, in the currents of activity of youth culture. In games arcades they found the elements of evasion of the adolescent lifestyle: friends, sex and drugs; as well as elements of popular culture that projected images close to rebellion, escapism and marginality, such as the comic or music.

Gangs Of The 80’s On the edge In 1975, 25% of the population above 14 years of age was excluded from the educational system. The working age -like the legal age- was 16, so for many young people the street was the only place left to go. Furthermore, the arrival of heroin had a devastating effect. Amidst a climate of social alarm, intensified by the media, the juvenile delinquent became public enemy number one.

Gang-Stars The presence of young delinquents in the media is the key to understanding their iconization. El Vaquilla and El Jaro are the brightest stars in this universe, real heroes of marginality, thanks to cinema biopics: Navajeros, the saga Perros Callejeros and Yo, El Vaquilla. These films form the backbone of gang culture cinema.

The reformatory The Juvenile Courts had three options for dealing with the problem of juvenile delinquency. The first was to return the child to his home, if the parents accepted. The second was to send him to a reformatory. The third option, reserved for the most dangerous, was prison. Due to the lack of special facilities, many juveniles were sent to adult prisons.

From the roofs, I can see the city As well as the lack of prison installations, there were problems derived from overcrowding and the scarcity of resources. The Franco inheritance left a system based on the most repressive and punitive methods. A wave of mutinies broke out in 1977, which resulted in the creation of COPEL (Organization of Spanish Prisoners in Protest).

The survival of the myth This exhibition tackles the survival of this juvenile delinquency phenomenon since its rise and the tragic end of many of its protagonists. Hand in hand with a new generation, an aesthetic pirouette has occurred by means of which the juvenile delinquent of the eighties has risen to become a cool icon. The icon today, especially on Internet, flies freely. http://www.cccb.org

Gangs Of The 80’s

Small urban myths Some people even talk about the «Vaquilla generation», after the teenage gang leader of the same name. The gangs that emerged from the crisis of the 1980s are part of the story of the nascent Spanish democracy. As we already know, the transition coincided with an acute economic crisis which led to the famous Moncloa Pacts signed between the government and opposition parties to prevent further economic decline. While liberty was gaining ground in Spain in the midst of social conflict, in the peripheral neighbourhoods of the big cities, such as Barcelona, Madrid and Bilbao, the social marginalisation of young people, who had no work prospects or saw no chance of building any future projects on the horizon, became radicalised through the consumption of drugs. These were the «years of lead» for the heroin which ravaged an entire generation.

It was in this atmosphere that a number of bold young individuals, hell-bent on a life of crime in order to pay for their drug habit, became small urban myths who symbolised the gravity of a situation that posed a threat to social cohesion. As often happens in these cases, the media played a key role. The magnification of the crimes committed by these youngsters and the fact that they were perhaps over-represented in social terms, converted them into true urban myths which triggered a mixture of admiration and fear.

They were, at any rate, the voices of the neighbourhoods where young people no longer identified with conventional forms of representation and viewed politics as something completely alien to them. The gangs continue to be a manifestation of disenchantment.

The time some of their members spent in prison coincided with a short-lived movement that originated in France: the COPEL (Organization of Spanish Prisoners in Protest), a political organisation of prisoners who brought the problems of prison life to the attention of the press and took part in several riots, for instance, at the Model Prison in Barcelona.

El Vaquilla and others took part in these movements.

Gangs Of The 80’s Of course, the media which once sang their praises later crucified them. They were, in any event, ephemeral myths, lives condemned to a tragic end, destroyed by drugs and the dynamics of a growing marginalisation which their own actions led them to. Many of them died from heroin addiction or through violence in confrontations with the police.

Others became the fodder of TV reality shows.

However, this is an episode in the life of a country in the throes of transition. A minor story which resulted in a cinematic genre associated with the adventures of these kids and bore witness to another face of the transition. The face that doesn’t appear in the official history books. The reconstruction of this episode, based on some of its most idiosyncratic characters, enables us to retrieve the history of the urban peripheries, to analyse the media protocols used to construct the characters and trace the destinies of a group of youngsters who became key players without understanding why. Having fallen to the bottom of the well, they were unable to get out.

There is a touching image, whose inclusion in the exhibition may seem ironic while, at the same time, expressing empathy with a series of characters born of exceptional circumstances, who were unable to find their place in the world or in a society that failed to find them a role, except, that is, for short-lived media glory, just before it sunk them forever. This image shows one of them, José Luis Manzano, in the role of John the Baptist, in a mural depicting the Last Supper, painted behind the altar in the church of Alhóndiga in Getafe. Stories of a crisis – the crisis of the 1980s – which we look back to at the time of another crisis. Taking a look at those events through contemporary eyes can help alter our perception, but bringing the gaze of that time to the current crisis can also help us see it from a different point of view.

Josep Ramoneda Director, CCCB

Gangs Of The 80’s

Smash Palladio show reaches Spain

An exhibition marking 500 years since the birth of ground-breaking Italian architect Andrea Palladio (1508-1580) has arrived in Spain following smash-hit stints in Italy and the UK. The show, which traces the career of the Renaissance architect and looks at how his work revolutionized European building design, starts its eight-month period in Spain at the Caixa Forum in Barcelona, where it opens on May 22. After Barcelona, it will travel to Madrid, where it will be on show from October 6 until January 17.

The event, Spain's first ever exhibition devoted to Palladio, seeks to draw out the Mediterranean country's links with the architect, opening with a famous painting thought to be a portrait of Palladio by the Spanish artist El Greco.

A Castilian manuscript published in Valladolid in 1625 is displayed alongside a print edition of the first of Palladio's Four Books of Architecture.

A Spanish version was the first foreign translation of the architect's renowned work, published just eight years after the original version in 1578.

However, Palladio never worked in Spain, and the only drawing he completed for a Spanish building, the church of Escorial, has vanished, so the exhibition generally offers a very broad perspective on the architect's work. In total, over 200 items are on show, including nearly 80 signed Palladio drawings, one of the event's star attractions.

The selection provides valuable insight into Palladio's creative process and also gives visitors the chance to view a number of designs that failed to make it beyond the drawing board, either through lack of money or because they were considered too advanced for their time.

Smash Palladio show reaches Spain Palladio's designs for the Rialto Bridge in Venice, a new ducal palace and various of his characteristic white villas are among these.

The show features over 40 paintings, which help construct other aspects of the architect's life. A selection of portraits by great Italian artists of the time, including Paolo Veronese, Titian and Tintoretto, depict figures from Palladio's close circle of friends, as well as his rivals, such as Jacopo Sansovino.

It also showcases a series of idealized 18th-century cityscapes by artists such as Canaletto and Francesco Zuccarelli, who often worked Palladio's structures into their paintings for foreign tourists.

The exhibition is the result of five years' preparation and spotlights a number of discoveries that emerged during this time.

PALLADIO'S PENCHANT FOR COLOUR. Of particular interest was the discovery by top Palladian experts from Italy, Spain, France, Germany, Britain and the US that the architect had a hitherto unknown penchant for occasional outbursts of colour.

Palladio's classical designs are famous for their white simplicity but the latest research suggests that a number of works originally incorporated splashes of red.

Traces of red paint have been found on several famous buildings, including the Church of St. George in Venice, whose columns were repainted white in the mid-1600s.

Smash Palladio show reaches Spain

Experts are now convinced that an important element of his original design for the church was the contrast between its fiery red columns and their brilliant white bases.

Palladio, who was born in Padua in 1508, is considered one of the most influential architects in Western history. Not only did his style become fashionable all over Europe, shaping the work of British architects such as Inigo Jones and Christopher Wren, it also had a strong following in colonial America.

Born Andrea di Pietro dalla Gondola, Palladio spent time in Rome studying and measuring ancient Roman ruins, from which he took much inspiration.

Among his famous works are a series of country villas and urban palaces he designed for the provincial nobility of Vicenza.

From about 1560 to 1580 he built several churches in Venice, notably San Francesco della Vigna, San Giorgio Maggiore, and Il Redentore.

His last great work was the Teatro Olimpico in Vicenza, completed after his death in August 1580.

Graffiteros en Seville La explosión del Graffiti en Sevilla la podemos situar a partir de la Exposición Universal del 92. Hasta esa fecha eran movimientos esporádicos y sin un contexto determinado.

A partir de los años noventa va tomando forma y contenido un movimiento sevillano graffitero de gran calado urbano y social. Ya queda consolidado y asumido dentro del contexto de la Ciudad. Los últimos años no han hecho sino consolidar este interesante movimiento artístico y cultural. En la actualidad Sevilla cuenta con un elenco de excelentes graffiteros, entre los que podemos destacar a: Logan, Mika, Bejik, Gheto, Zekis y Kaiser entre otros. El presente y el futuro del Graffiti en Sevilla se presenta espléndido tanto en calidad como en cantidad de graffiteros. En los márgenes del río Guadalquivir es donde se encuentra un mayor número de graffitis. Prueba evidente de que la Ciudad asume este modo de expresión artística urbana, es que el Ayuntamiento ha encargado a un grupo de graffiteros el que decoren contenedores urbanos del Centro de la Ciudad. ¡Gloria eterna a los artistas callejeros!.

Graffiteros en Seville The explosion of graffiti in Seville we can trace from the Universal Exhibition of '92. Until then, movements were sporadic and without a given context. Since the nineties it is taking shape and content of a movement Sevillan graffitero major urban and social. Is already established and accepted within the context of the City. Recent years have done nothing but strengthen this interesting cultural and artistic movement. At present Seville has an excellent cast of graffiteros, among which we highlight: Logan, Mika, Bejik, ghettos, and Kaiser Zekis among others. The present and future of Graffiti in Seville is wonderful in both quality and quantity of graffiteros. On the banks of the Guadalquivir River is where more graffiti. Shows that the City takes this mode of artistic expression in urban areas, the City has commissioned a group to decorate the containers graffiteros Urban Center of the City. Eternal Glory to the street artists!.

Graffiteros en Seville

http://photohispalis.blogspot.com http:/www.youtube.com/user/nonovallet

Francesco Clemente : MADRE, Naples, Italy Palazzo Donnaregina, 79, Via Settembrini May 30, 2009 - October 12, 2009 [...] sitting in Madras at the Theosophical Society for several years, I was reading Indian authors who were familiar with the writings of Emerson, of Thoreau. So in India the prophets of America were already calling. [...] I still feel that for a painter the task is to put an object into the world that is not going to be an answer to anything. It's going to be a reality of its own. [...] The nature o of painting is to redeem an undercurrent of sadness. (F. Clemente, 2003) Francesco Clemente was born in Naples on March 23, 1952. After finishing high school he became a self-taught painter and a writer of poems. In 1970 he moved to Rome to attend the Faculty of Architecture, but he soon left it to dedicate himself to the artistic activity, making friends with Cy Twombly and Alighiero Boetti.

With the latter, in particular, he crossed Afghanistan on foot in 1974. In the same year he met Joseph Beuys, with whom he shared an interest for Anthroposophy.

Looking for new stimuli, in 1976-77 he lived in Madras, India - which he had first visited in 1973 where he opened a studio.

In addition to the interest for theosophical texts and Hindu culture he soon developed an interest for local artisanal cultures, which led him to execute the Pinxit series (1980–81) and the illustrations for the collection of volumes Selected Poems, 1958-1984 curated by Raymond Foye (1986). Although drawing remained his favourite mean of expression, he experimented with different techniques, including oil painting, mosaic, fresco, etching, sculpture.

His works were structured as a travel journal or an intimate journal, with abstract elements, images, his self-portrait, decorative suggestions and symbols borrowed from oriental art, classical antiquity and the popular culture of cinema and television; all these features blended together and lent an air of sexuality, myth, spirituality, dream to the work.

Francesco Clemente : MADRE, Naples, Italy

In 1979 he was numbered by Achille Bonito Oliva among the exponents of Transavantgarde – which aimed at reaffirming manual skills in art after the conceptual and performative trends of the previous century – and exhibited at the 39th Venice Biennial.

The following year he moved to New York, where he studied Sanskrit and executed the first series of large-format paintings, The Fourteen Stations, that was displayed in 1983 at the Whitechapel Art Gallery of London. At the same time he collaborated with Andy Warhol and Jean-Michel Basquiat and in 1985 he executed the murals for the Palladium nightclub (demolished).

In the 1990s he became fascinated by Jamaica and opened a studio in New Mexico, where he learned a peculiar wax fresco technique. He is the author of the paintings and drawings executed by the protagonist of the film Paradise Lost directed in 1998 by Alfonso Cuarón and inspired by Charles Dickens’s novel, Great Expectations.

In 1999 the Salomon R. Guggenheim Museum of New York dedicated a big retrospective exhibition to him, which also featured his famous collaboration works of the 1980s. In 2000 he executed the mural and the lampshades for the new Hudson Hotel of New York.

After the anthological exhibition organized in 2003 by the National Museum of Naples, in 2004 he executed a site-specific work for the MADRE museum, commissioned by Fondazione Donna Regina, Ab Ovo: a floor with zoomorphic insertions, which renewed the tradition of ancient majolicas of the Campania Region.

Two years later at the MAXXI in Rome he presented recent works from the Tandoori series (2003), which took its cue from Indian iconography and pastels of 2006 inspired

by Christian art. He works in Madras and New York.

Francesco Clemente : MADRE, Naples, Italy

Jeremy Scott for Adidas Originals For Fall/ Winter ‘09 the Adidas Originals by Originals collection, Jeremy Scott added some new crazy prints to his arsenal and and has outdone himself again my creating more stunning looks.

And with such amazing creations there leaves no doubt in my mind that Scott is the most eclectic and innovative of those who have participated so far in the Adidas Originals by Originals sub-collection.

If you start training in this fancy cartoon-animal-covered ponchos, orange tigerstriped warm-up suit combined with silver winged kicks, you might feel like a confused super-hero from your favourite-childhood-cartoon, (mine was Ninja Turtles, by the way).

In a perfect match with this imagination, the way-out puffy coat that is a part of his collection was inspired by the pixelated colours on a busted TV screen – or was it a frozen frame from that mornings first cartoon?

Jeremy Scott for Adidas Originals Fall/ Winter 2009 via: www.hypebeast.com

Jeremy Scott for Adidas Originals

Jeremy Scott for Adidas Originals Fall/ Winter 2009 via: www.hypebeast.com

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART”

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART” "Finally, a true American form of artistic expression is given the long-overdue credit it deserves!"

- Scott Mantz, Access Hollywood Running Time: 88 min / Release: U.S. Synopsis: American Artifact chronicles the rise of American rock poster art since its birth in the '60s. Director Merle Becker crosses the country interviewing rock poster artists from the different eras to discover that America is currently in the midst of a 21st century "rock poster art movement", where thousands of artists around the country are doing silk screened rock poster art inspired by their local scene, the music of our time, and the spirit of our era. The film features interviews with renown artists including Stanley Mouse, Victor Moscoso, Frank Kozik, Art Chantry, EMEK, Tara McPherson, Derek Hess, COOP, Jay Ryan, and more, as well as fans, collectors, and musicians.

Director’s Statement: Around 2004, I was in a bookstore, and I came across a huge coffee table book of rock posters called “The Art of Modern Rock”. I was floored. Up until that point, I had no idea rock posters were still even being made.

As a kid, I remember all these amazing album covers, sometimes prompting me to buy the album just for the artwork. Then came CDs, and the artwork shrank to a little 5X5 inch square. Then, it became a digital download, often being delivered without any art at all – But, with the rock posters, here was this whole collection of artwork that went along with the bands I loved. The rock visuals were back!

At the time I saw that book, I was working a corporate television job at MTV, but I needed a change. So, a week later, I quit my job, and decided to travel across the country interviewing rock poster artists for “American Artifact”. As I started doing research for the film, I came across a website called Gigposters.com, where over 20 thousand rock poster artists post their work. It was (and is) an unbelievable collection of the coolest rock imagery one could ever imagine.

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART”

I quickly realized that this wasn’t just a little hobby that a few people were doing on the weekends in their basement . It was essentially a modern day “art movement”, pertinent to our era: The Era of Rock and Roll. My initial intent was, of course, to find out why so many artists are drawn to doing rock posters (no pun intended). What drove them to persue a career that often, barely paid the bills? What were their inspirations and movitvations?

However, I also wanted to tell a clear story of the history of this art form; how it started, how it so closely parallelled cultural change, and how it got so huge today. It was always my intent to make a film that was not only entertaining and fun to watch (like many of the personalities in the film), but to also make a film that was informative; one that you would walk away from feeling like you learned something.

Like many independent filmmakers, I was unable to get funding for the film. I had quit my job, taken large chunks of time off to work on it, and just about the time I was expecting to grab some freelance corporate work to pick up the slack, the recession hit. So at times, it felt a bit like the experiences of so many of the artists I spoke with; existing on the bare minimum for about four years to get the film finished. And, at some point, I felt that this was part of the story, too. Here were these artists documenting our era of Rock and Roll with their work for little or no money, and here I was documenting their art movement, again, for little or no money. But money woes aside, it got finished. And, looking back, it was worth every second.

It is my hope that this film causes people will see this “lowbrow” art in a different way: as beautiful pieces of art, that are also valid statements about the cultural changes that Amerca has seen throughout the years. And, it is also my hope that the film inspires people to let go of whatever holds them back from doing something they love, and encourages them to just go do it!

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART” Select Cast Biographies:

Stanley Mouse (1960s): Stanley Mouse grew up in Detroit, MI, where his art skills gained him notoriety during high school when he started doing airbrushed “hot rod tee shirt” designs at the state fair. Having earned enough money to own the nicest car in his class, Mouse left Detroit for San Francisco in the mid-‘60s, where he met his art partner, Alton Kelley (d. 2008). Stanley is perhaps best known for creating the famous “Skeleton and Roses” poster for the Grateful Dead with Alton, an image which the Grateful Dead later used for their logo.

Victor Moscoso (1960s ): Victor Moscoso is a classically trained artist who studied at Yale and started working in the underground comix scene with Robert Crumb in the early ‘60s. Inspired to start doing rock posters by a poster he had seen by his contemporary, Rick Griffin, Victor soon became known for his optical illusions and and vibrating / psychedelic color patterns . “I turned the rules that I had learned in art school upside down: A poster was supposed to be easy to read and the colors were supposed to be pleasing to the eye. I did exactly the opposite. That’s how you get attention!”, claims Victor.

Frank Kozik (1990s ): Frank Kozik is often credited as the one who inspired the resurgence of rock poster art in America today. Frank was born in Eurpoe, and his parents were estranged when Frank was still very young.

After moving to the United States, Frank found himself in Austin, Texas in the 1980s, right in the midst of a blossoming underground music scene. With the help of artist and silkscreener Lindsey Kuhn, Frank starting doing huge, colorful, silkscreened posters at a time when America was seeing mostly black and white flyers on the telephone poles. Frank’s satirical posters and independent, entreprenurial spirit quickly spread his work all over the country, inspiring a whole generation of rock poster artists to start doing silk screening.

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART”

Art Chantry (1990s ): Art Chantry grew up in Tacoma, WA, and moved to Seattle right before grunge “hit” in the ‘90s. Working at publications like “The Rocket”, and doing artwork for record labels like Sub Pop, Art’s fingerprint was on just about every album cover and magazine from the “grunge” era. Art’s work often comprised of old American advertisements, re-purposed to promote not-so-mainstream rock bands. Today, Art is internationally recognized as not only representing the “look” of the grunge era, but also as one of America’s most innovative and talented graphic designers.

COOP (1990s ): COOP was born in Tulsa, Oklahoma, and moved to Los Angeles in the late ‘80s. In L.A., he immediately started doing work for bands like Nirvana, Soundgarden, The Sex Pistols, and many others. Heavily influenced by the hot rod culture of the ‘60s, COOP sites Big Daddy Roth, Robert Williams, and R. Crumb as influences. COOP’s work can be seen in the permanent colleciton at the Rock and Roll Hall of Fame museum in Cleveland, and has been exhibited in galleries, internationally.

EMEK (contemporary): EMEK comes from a family of fine artists, and is often regarded as one of the most highly sought-after rock poster artists of this era. Having done work for The Beastie Boys, Queens of the Stone Age, Nine Inch Nails, Erykah Badu, and just about every other mainstream mega-band, EMEK has managed to build a following which often causes long lines at rock poster events. “As a child, my parents thew the television out of the house and encouraged us to have creative art time”, says EMEK, crediting his attention to detail and approach to his craft to his artistic upbringing.

“AMERICAN ARTIFACT: THE RISE OF AMERICAN ROCK POSTER ART”

Tara McPherson (contemporary ): Crowned the “princess of poster art” by ELLE magazine, Tara’s work has appeared in numerous publications including “The Art of Modern Rock” and “SWAG”. Based out of NYC, she has worked on several international image campaigns, including ones for Pepsi and Ray-Ban sunglasses. Tara’s posters were also most recently featured in the Oscar award winning movie, Juno.

Jay Ryan and Mat Daly (contemporaries ): Jay and Mat both work at Jay Ryan’s poster shop, “The Bird Machine”, which is based out of Chicago, IL. Jay has been heavily involed in the American Poster Institute (API), and the organization of poster events such as Flatstock, which is about to have it’s 18th show. Jays posters, often comprising of whimsical and imaginative animals, have been done for an array of bands like The Shins, The Decemberists, Andrew Bird, and Fugazi.

Director’s Bio: Merle Becker Producer / director Merle Becker has worked in the television and film industry for 17 years. As a graduate of Syracuse University’s TV / Radio / Film Production program in 1993, she has since been recognized for her work on numerous television shows, music videos, and electronic press kits for both independent and major label musicians.

Drawn to pop culture and music-related subject matter, Merle’s credits include MTV's "Beavis And ButtHead", "Total Request Live", "The 59th Annual TONY Awards on CBS", Comedy Central's "Tough Crowd With Colin Quinn", and countless other shows for Fuse, VH1, and MTV. She finished her first film, "Saving Newburgh", an award-winning documentary about the political turmoil in the upstate city of Newburgh, NY, in 2004, and she was also involved in the editing of “Rising Low”, a documentary about bass players (featuring, among others, Warren Haynes and Phil Lesh). She began work on “American Artifact” in 2005, and completed the film in 2009.

Merle is based out of NYC, and runs an independent film company, Freakfilms, Inc.

Issue 3 of

Kikked! will be available on

November 1, 2009 Only via

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Deadline for content submission or advertising requests :

October 23, 2009 For more information, contact Kikked! at :

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