USER GUIDE BACK TO LIBRARY TAP ANYWHERE TO ACTIVATE NAVIGATION BAR
BACK BUTTON TABLE OF CONTENTS ADD TO FAVORITES SHARE BUTTON BIRD’S EYE VIEW
SWIPE LEFT AND RIGHT TO CHANGE ARTICLES
PAUSE / PLAY AUDIO
SWIPE UP AND DOWN TO MOVE INSIDE AN ARTICLE
PLAY VIDEO / AUDIO
NAVIGATION BAR
ZOOM IN ARTWORK DETAIL
ZOOM OUT ARTWORK DETAIL
UNDERLINE ENLARGE IMAGE
SHRINK IMAGE
SLIDESHOW PREVIOUS / NEXT IMAGE
BACK TO MENU
PULL TAB
LINKS TO URL OR MAIL
ENGLISH/ ESPAÑOL
MULTIPLE ACTIONS BUTTONS
ROTATE TABLET
DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE OR GOOGLE PLAY TO READ THE ENTIRE ISSUE
FOLLOW US @larmagazine
LARMAGAZINE is free. If you like it you can still help us
“BUT ONLY ART AND MUSIC HAVE THE POWER TO BRING PEACE.” YOKO ONO
Catherine Bagnall, Woman in Animal Suits, 2011
DIRECTOR / ADVERTISING Catalina Restrepo Leongómez catalina@lar-magazine.com EDITOR / TRANSLATOR Daniel Vega serapiu@hotmail.com ART DIRECTOR / DIGITAL PRODUCTION Judith Memun judith@lar-magazine.com EDITORIAL COORDINATOR Valeria Castro info@lar-magazine.com WRITER AT LARGE Emireth Herrera emi.heva@ gmail.com. Contributors Martin Patrick, María Fernanda Barrero, Daniel Vega, Homero V. Campos. Aknowledgments Gonzalo Ortega, Roberto Pulido, Daniela Fierro, Margarita Leongómez, Pablo Muñoz Barragán, Eduardo Castillo. Photography & Video Courtesy of the artists, The Städel Museum, Moderna Museet, me Collectors Room Berlin. FOUNDERS Catalina Restrepo Leongómez & Judith Memun.
VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM
EDITORIAL
LEER EN ESPAÑOL
Peaceful Contexts For me, being from Colombia and living in México, it is hard to imagine what it would have been like to grow up in a peaceful context… a real peaceful one, and to live without fear of going out of my house and being robbed, to say the least. Through movies, the media, or even with the help of history books, one could make himself an idea of how life is in such places. However, it is probable that the people who live there have a different way of addressing general issues. Many people think of peace as the opposite to war or violence. Despite that, in this new issue we try to deal with the concept of peace as an independent condition that stimulates one type of thought, sensibility and creativity that in most cases allows exploring the world from a perspective that goes beyond survival. As usual, we do not propose a thesis with this magazine, since pages and editing timelines are never enough. Conversely we want to invite the readers to ask themselves for a moment: what kind of conflicts, issues or problematics could worry artists hailing from such countries as Iceland, Norway, New Zealand, etc.? What do artists talk about when the context they live in is filled with security and tranquility? If violence is an inherent part of human condition, how can someone who hasn’t experienced it analyze such concept? Is there really something like a peaceful context? For this issue we’ve sought to at least sow that concern, and present the proposals of certain artists that don’t necessarily talk about peace or peaceful contexts, but whose works evidence a kind of aftermath of violence. The truth is most of them share the fact of being born and raised in countries or cities considered peaceful. For example: Rúrí, who besides presenting her portfolio on this issue, held a conversation with Mexican artist María Fernanda Barrero, with whom she has many ideas and interests in common. We also include an SCROLL interview with Grazia Toderi by FOR our MORE dear contributor Emireth Herrera, as well as a conversation between Catherine Bagnall
1/1
EDITORIAL
BACK TO ENGLISH
Contextos pacíficos Para mí, que soy de Colombia y vivo en México, es difícil imaginar cómo hubiera sido crecer en un contexto pacífico… realmente pacífico, y vivir sin el miedo a salir de la casa y ser robada, por decir lo mínimo. A través del cine, los medios de comunicación, o incluso con la ayuda de libros de historia, uno podría hacerse una idea de cómo es la vida en estos lugares. Sin embargo es probable que la manera de abordar temas en general por parte de quienes viven allí sea diferente a la nuestra. Muchas personas piensan en la paz como el opuesto de la guerra o la violencia. Pese a ello, en esta edición tratamos de abordar el concepto de la paz como una condición independiente que estimula un tipo de pensamiento, sensibilidad y creatividad que en la mayoría de casos permite explorar al mundo desde una perspectiva que va más allá de la supervivencia. Como siempre, no queremos proponer una tesis con la revista, pues las páginas y el tiempo de edición nunca son suficientes. En cambio, pretendemos invitar al lector a preguntarse a sí mismo por un momento: ¿qué tipo de conflictos, temas o problemáticas pudieran inquietar a artistas provenientes de países como Islandia, Noruega, Nueva Zelanda, etcétera? ¿De qué hablan los artistas cuando el contexto en el que viven, la seguridad y la tranquilidad son patentes? ¿Si la violencia es parte inherente de la condición humana, cómo alguien que no la ha experimentado puede analizar este concepto? ¿Existe realmente un contexto pacífico? Para esta edición nos hemos propuesto sembrar al menos esa inquietud, y presentar las propuestas de ciertos artistas que no necesariamente hablan de paz o de contextos pacíficos, pero cuyos trabajos evidencian una especie de aftermath de la violencia. Ciertamente la mayoría de ellos comparten el hecho de haber nacido y crecido en países o ciudades considerados como pacíficos. Por ejemplo: Rúrí, quien además de presentar DESLIZA PARA LEER su portafolio en esta edición, mantuvo una conversación con la artista mexicana María Fernanda Barrero, con quien tiene
1/1
“THOSE WHO MAKE PEACEFUL REVOLUTION IMPOSSIBLE, MAKE VIOLENT REVOLUTION INEVITABLE.” MARTIN LUTHER KING
CONTENTS TAP ARROWS TO GO
Editorial Peaceful Contexts
Interview Grazia Toderi by Emireth Herrera
Recommended John Baldessari The Städel Museum Frankfurt, Germany Olafur Eliasson
Interview
Moderna Museet
Catherine Bagnall
Stockholm, Sweden
by Martin Patrick
Falling Fictions
Artist Portfolios Grazia Toderi Sabine Kacunko
me Collectors Room Berlin, Germany
Special Guest The Bush Project
Catherine Bagnall Elias Björn Rúrí
Conversation
Music David Gilmour: Sailing For Tomorrow by Daniel Vega
Rúrí by María Fernanda Barrero
DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE OR GOOGLE PLAY TO READ THE ENTIRE ISSUE
RECOMMENDED JOHN BALDESSARI FRANKFURT, GERMANY / THE STÄDEL MUSEUM / NOVEMBER 2015 TO JANUARY 2016
John Baldessari (*1931), Movie Scripts / Art: I wouldn’t even try, 2014 Marian Goodman Gallery © John Baldessari 1/8
3/8
John Baldessari (*1931), Movie Scripts / Art: ...Room is bare and dusty, 2014 Marian Goodman Gallery Š John Baldessari
4/8
John Baldessari (*1931), Movie Scripts / Art: ...With a fly crawling on it, 2014 Marian Goodman Gallery Š John Baldessari
LEER EN ESPAﾃ前L
INTERVIEW WITH GRAZIA TODERI by Emireth Herrera
in ‘63, the year I was born, and is dedicated to man’s landing on the moon, which I saw in 1969. At that special moment millions of amazed people worldwide were united by the simultaneous viewing of the same images. Memory went from the private to the collective. And at the same time Earth was seen from above through artificial satellites. It was a dream. Like was a dream the ‘68, full of changes and hopes. I was living in Bologna, a profoundly leftist city and home to the oldest university in the world; real close international relations bonded through experimentation in arts, music, philosophy, theater, poetry, literature and science, were originated there. There was no division between areas, they all communicated through the daily cohabitation around the “square.” Piazza Maggiore and the University were the meeting places for travelers and international cultures; cultural and political debates were always around. I was a little girl who enjoyed that peaceful and revolutionary environment. Everything changed in a moment, in the late ‘70s: the leftist intellectuals started showing interest in mass media; TV, advertising, everything had to be functional. Quality thinking stopped mattering, everything was made to consent. TV’s popular and mediocre taste won, and now left and right are bonded by common interests; false statements and bribery connect like capillary vessels.
AT THAT SPECIAL MOMENT MILLIONS OF AMAZED PEOPLE WORLDWIDE WERE UNITED BY THE SIMULTANEOUS VIEWING OF THE SAME IMAGES. MEMORY WENT FROM THE PRIVATE TO THE COLLECTIVE. EH: Chiara Oliveri Bertola said in a piece about your work: “by showing quotidian objects in domestic contexts, Grazia Toderi’s works do not hide a sense of unease, and her subjects, in reality, are often subjected to concealed violence.” How is your vision about violence? How do you think these quotidian objects, that seem harmless at first sight, can generate a violence-related connotation? GT: There may be silent, everyday, almost indiscernible violence. Any object may have different functions and any gesture that is not well thought out can become dangerous. Even spraying a plant with flowers as a gesture of affection and care may become an aggressive obsession. However, miraculously, frailty often resists. Some of my works were thought as a homage to the heroic resistance of life’s frailness in adverse conditions.
“PEACE CANNOT BE KEPT BY FORCE; IT CAN ONLY BE ACHIEVED BY UNDERSTANDING.” ALBERT EINSTEIN
RECOMMENDED Olafur Eliasson Verklighetsmaskiner / Reality machines
Stockholm, sweden October 2015 - January 2016 Moderna Museet and ArkDes, the Swedish Centre for Architecture and Design Curator Matilda Olof-Ors Seu Corpo Da Obra (Your Body of Work), 2011 Courtesy of the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York 1/9
Exhibition Views 2/9
Seu Corpo Da Obra (Your Body of Work), 2011 Courtesy of the artist; neugerriemschneider, Berlin; and Tanya Bonakdar Gallery, New York 5/9
7/9
TAP DOTS
Olafur Eliasson in collaboration with Einar Thorsteinn, Model Room, 2003 Moderna Museet. Purchase 2015 funded by The Anna-Stina Malmborg and Gunnar Hรถglund Foundation
ADVERTISE WITH US info@lar-magazine.com
ARTIST PORTFOLIOS
Catherine Bagnall
Elias Björn
New Zealand
Sweden
Rúrí
Grazia Toderi
Iceland
Italy
Sabine Kacunko Germany
CONTINUE READING IN OUR iPAD OR GOOGLE PLAY APP DOWNLOAD LARMAGAZINE
Grazia Toderi
BACK TO MENU
PULL TAB
Atlante Rosso (fragment), 2012
1/9
Grazia Toderi
Moon’s Extinguishers, 2015. Video projection, loop, sound. Installation view CONTOUR7, Mechelen Commissioned by CONTOUR7. Co-produced by Contour Mechelen vzw, Belgium. Photography Elio Germani
SWIPE IMAGES
3/9
Grazia Toderi
Atlante Rosso (fragment), 2011
5/9
8/9
Grazia Toderi
Orbite Rosse, 2009. Installation view, John Curtin Gallery, Curtin University, Perth, 2010. Photography Tarryn Gill
Sabine Kacunko
BACK TO MENU
PULL TAB
INVINCIBLE, 2015
1/12
Sabine Kacunko
INVINCIBLE, 2015
SWIPE IMAGES
2/12
Sabine Kacunko
SWIPE IMAGES
Looping Life, 2013 4/12
8/12
Sabine Kacunko
Plange M端hle, 2005
Sabine Kacunko
Iris, 1997
10/12
http://paisajesocial.org/
INTERVIEW WITH ARTIST CATHERINE BAGNALL
LEER EN ESPAﾃ前L
By Martin Patrick
1/12
Artist Catherine Bagnall is a charmer. That is to say, both her work and her approach to life are filled with a disarmingly modest and endearing quality that draws one in, should you wish to travel through the circles of those who tread long distances on foot in the wilderness while wearing multi-patterned, hand-sewn animal hats and tails (for example). The fact that Catherine has both led group “tramps” in this manner and scaled daunting precipices of Aotearoa, New Zealand in cumbersome Victorian apparel is, in my estimation, mightily impressive. While Catherine maintains a relatively low profile in the local art scene, her work has been shown internationally, most recently in México. Bagnall’s art practice enlivens the situations it encounters, similar to how she embraces the outdoor landscape and the actively performative gesture. Although most often represented through photographs, video, and sculptural installation, Bagnall’s concern is very much for the experiential, and in a varied array of projects she has attempted to communicate the very feel and the “liveness” of her wilderness excursions. Although whimsical and childlike at times, her art practice also bears a quality of enormous seriousness, and an almost mystical and neo-Romantic view of how nature influences and intersects with culture. Catherine Bagnall’s performative excursions bespeak, despite some historical allegiances, an utterly contemporary ecological worldview.
Martin Patrick: Catherine, you once stated that you wore your own handcrafted outfits to explore “a heightened intensity of being in the wilderness landscape.” This intrigues me as fashion (with which your artworks bear a strong relation) is often considered to emerge primarily from urban settings. Could you unpack some of the reasons behind, and the origins of your “wilderness” excursions? 2. ‘Tramping’ is the New Zealand colloquial term for Catherine Bagnall: I have never really worked in urban environ‘hiking’—carrying a pack one’s backinwith ments. I feel very happy in the bush,1on especially the sub-alpine equipment and food to be terrain as in the Kahurangi and Tongariro National Parks—these to stay or other areas are so beautiful and I really likeable being far overnight away from extended people except for those I’m tramping2forwith. Therelengths are noofmirrors, timetramp. in the bush. shopping, traffic, work, rushing when you Deciding to make
work in the “wilderness”3 initially came from just wanting to be in it and secondly from reading about early mountaineering wo-
2/12
men who were often described as lesbian or odd/childless (which is me —the childless bit that is— and something I was thinking quite a bit about at that point); people that sat slightly “outside” society. I decided the bush became a space where they could exist as they really wanted to be: a space where you can potentially become whatever you wish as the social rules or norms that apply to an urban setting don’t necessarily apply. And using clothing (one of the most distinctively human cultural forms) to explore the human-animal divide l find interesting. When I dress up, I feel a full embodied-ness, a heightened intensity of being. I am exploring how clothing can enhance, rather than hinder a connection to the environment and facilitate a more physical understanding of being in the world. MP: How does “tramping” play a role and what lead you to organize group “tramps,” as you did last year (and have done previously)? CB: Growing up I spent a lot of time in dress-up clothes in the bush behind our house. I have always dressed-up and still do. The organising of a group “walk” or “tramp” arose from my own curiosity. Would other willing participants also be interested in “becoming something else” out there? For the first group walk in 2012, I asked everyone to wear their best clothes, to dress up and I supplied fur muffs and long tails that I had sewn, along with a picnic. The walk took place in the Tongariro National Park4 and it was a magical day—everyone was so dressed up, we walked and then picnicked, and there was some twirling in frocks. It was a very sensuous experience, everyone was happy and we all slept up on the mountain in a hut. MP: Did you take a very different approach when planning your second organized group tramp? CB: With the second tramp in 2013, I wondered how it would appear with others dressed up in hats with ears attached, and tails, and again just to find out what would happen, how people would respond to the environment and to each other. I just wanted to create an experience for the participants but not with huge expectations, just in hope that by wearing something not normally associated with walking or even usual everyday clothing, people might
3/12
feel a bit different about themselves within their surroundings—to feel very alive and possibly have a more sensual relationship to the environment. I think I am just dressing in reverence for the trees! MP: How would you characterize your specific approach to dress and performance in relation to the New Zealand context? CB: Dressing for the trees in fur muffs and tails in Aotearoa is certainly paradoxical. The fur trade is cruel and problematic, but possums are one of the pests destroying our forests. Polynesians brought the first rat (kiore), and the early whalers and European settlers brought the possum along with numerous other pests (stoats, cats, Norway rats and ship rats, mice, goats, deer, and pigs)—they are devastating the remaining bush and bird life. Prior to human settlement New Zealand had only birds, and they had no natural predators. Based on accounts from the first European settlers who arrived from around the 1880s, Maori have lived here since possibly as early as the first or second century AD; the accounts describe the incredible amount of birds and the intensity of bird song which didn’t stop them burning and milling the trees to convert the bush to farmland.5 Our national parks and wilderness areas are now all pest-controlled with trapping, weeding, hunting and even controversial droppings of the poison 1080. The management of pest control is a heavily contested area and exposes again our complex relations with ‘nature’. I get the skins of possums my father traps—he was taught how to trap and skin by his mother. I then make them into the fur muffs, which form part of “my dressing up for the trees.”6 Also at this time I started painting women/girls in the forest wearing ears and tails, and I think I was also trying to become the personae in the paintings through the performances or vice versa. I am still painting those women/girls and they are becoming more maniacal: now they are dancing with arms outstretched. (Fig. 1) MP: You’ve participated in some symposia and exhibitions artist Richard Reddaway has organized on the notion of the “baroque”7 and how it might be read in relation to the Aotearoa New Zealand context. What are some of your thoughts on identifying with the term “baroque”?
Fig. 1 Listening with the Forest, 2012 In collaboration with Aliscia Young
4/12
Catherine Bagnall
BACK TO MENU
PULL TAB
Woman in Animal Suits, 2006-ongoing 1/12
Catherine Bagnall
Woman in Animal Suits, 2014
SWIPE IMAGES
4/12
Catherine Bagnall
SWIPE TO SE MORE IMAGES TAP IMAGES
Wilkins & Austin, 2013 5/12
Catherine Bagnall
Wilkins & Austin, 2013 7/12
Catherine Bagnall
SWIPE IMAGES
Woman in Animal Suits, 2011 11/12
Elias Björn
BACK TO MENU
PULL TAB
Män Asså..., 2015
SWIPE IMAGES
1/14
Elias Bjรถrn About Konstruktion Version C, 2015
SWIPE IMAGES
Sobre Konstruktion Version C, 2015
Konstruktion Version C, 2015 Varberg Konsthall, Sweden 2/14
Elias Bjรถrn
THIS CONTENT REQUIRES AN INTERNET CONNECTION
Man borstar sitt hรฅr, 2011. ONO Gallery (UKS), Oslo, Norway
4/14
Elias Bjรถrn
Untitled, 2011
9/14
Rúrí
BACK TO MENU
PULL TAB
Future Cartography (I), 2012 / Future Cartography III, 2013
TAP IMAGES
1/17
Rúrí
Termining, 2008 3/17
Rúrí
Water Vocal Endangered (I), 2007
SWIPE IMAGES
5/17
Rúrí
SWIPE IMAGES
Dedication, 2006 6/17
Rúrí
PARADISE? - When?, 1998
TAP IMAGES
9/17
LEER EN ESPAÑOL
CONVERSATION BETWEEN MARÍA FERNANDA BARRERO
& RÚRÍ 1/16
María Fernanda Barrero: I was thinking we could review our main points and then sort of come back together, think about it and then meet again if you like. It seems that a lot of our work is based on theory, like science space research. Rúrí: Not all of my work is; but I have to say that I took a look at your pages and I like the way you are doing your works. At first it seems like this very nice cutting technique which people are using but you take it much further. It goes much deeper, what you are doing. MFB: Thank you. I enjoy paper a lot. Rúrí: Also the white, white, white, the no color, just the white and shades and shadows. MFB: Yeah, I think that has to do with me living before in an urban environment, and I think I was missing the green colors. And now that I’m living in the jungle I think colors work very differently. So if I would start working here then it would be a very different context and I probably would use color. I’m working at a building site and it’s very colorful so it’s weird that I sort of change between very colorful things and very white stuff. Rúrí: Actually I was making experiments with white installations when I was a very young artist and it was surprising to me how strong they could become. That was when I realized that I didn’t necessarily need colors in my work, I could do more in art with very little color. But it’s not like I’d been striving to do so, I guess it was just how I felt it. But I like these installations; I’m not sure I grasp everything you are doing and considering in your work, but somehow one has to. I get this feeling that it’s like very beautiful but also it’s very empty, like I’m starting to see something that wasn’t there before. Like there was some legend living, but it’s not living, it is like a memorial of what was in that place before, but in a very beautiful ephemeral way, as I see it, but it may be all wrong.
"I GET THIS FEELING THAT IT’S LIKE VERY BEAUTIFUL BUT ALSO IT’S VERY EMPTY, LIKE I’M STARTING TO SEE SOMETHING THAT WASN’T THERE BEFORE."
MFB: No, no. I started doing this work when I was living in England and I think I missed the plants and animals and the weather a lot so I started working in white, and I think I’m very sensible to the lack of light. It is very hard for me to live in dark
2/16
places. Now I’m finally living in a very tropical place and I would never be able to do that work here. So I think that it was just the longing for a certain natural environment away from the city that I couldn’t find or that I couldn’t get to. And that was when I was doing these sort of empty spaces, I suppose; I think it has to do with that, and well, in your work I saw a lot of this idea of memorial and desolation and longing for something that was lost, right? So I don’t know, there’s some sort of emptiness, somehow. Rúrí: Actually my works are mostly about what may be mixing in the future except in The Paradise, when work was very unkind when it was done. But I mean, like Desolation: Time vs Pavillion, it’s a future archeology. MFB: And what about this performance I saw at a dedication about a drowning pool? I had dreams about it, I read about it yesterday and I kept dreaming about it. It was very impressive.
Time / Pavilion, 1985
Rúrí: That is of course about the trio of things, a part of a history. MFB: It was very impressive, I had no idea they had a death sentence for these girls in Iceland or in Europe. Rúrí: I’m not sure you know —I’m not that very well informed about history in general— but in Europe, in protestant times, the Church, governments, kings or monarchs, as it was at that time, were combined because the monarch became the head of the Church. It was a mixing of rather fanatical religion and monarchy that formed the law. Previously it had been the Church who was involved in things like child’s birth and matrimony, but at that time it was the king who enforced this law. As Iceland was a colony of Denmark, with a kind of home government that could not really oppose the King at all, Denmark and its King enforced the law in Iceland. Originally it was supposed to be to scare people away from having children because they had to be fed. I mean, people were not in the position to bring up children, so I think the idea was to have a strict punishment to scare people away from having children outside wedlock, but it became really fanatic and it’s hard to try to understand what’s behind these kinds of acts. But for me, actually I’ve known this place, this is in our National Park, Thingvellir, and
Dedication, 2006
3/16
it is like the Parliament. After 1930, the summer parliament was held there every year. There’s a river there that leads to a sort of pool where they used to drown the women. I remember when we went as kids with my parents and we were asking why it was called drowning pool, and so since then I remember getting shivers from looking at it. So for some reason, when I was preparing an exhibition in Iceland, the memories of the women came back very heavily on my mind; I couldn’t get rid of them and then I realized I would have to do a work about them. MFB: It is very haunting, very impressive. I was very shocked by the fact that it was happening. I suppose there are similar things happening all over. Rúrí: I think so, that’s what I have heard. I often wonder, why drowning? I mean, people were not usually executed by drowning; it’s very special that women were executed in that manner. I tell you more about these women in Iceland when reading the sentence (that’s what I’m doing at the end of the performance), and their names, and the punishments they got; we know that they endured rape before (by stepfathers, uncles, etc.), and then they were killed. MFB: They’ve endured a double crime. Victims, twice. Rúrí: It was the ultimate twisting of justice: to take a life for giving a life. There cannot be anything more brutal than that. But with this work I also wanted to kind of clean the memory of the women, their names. MFB: When I saw this work, and I think maybe Paradise? When?, about trying to relate/un-relate Bosnia & Herzegovina with peaceful environments, I was conflicted about this idea of artists working in peaceful environments, since I’m living in a very small village and it is quite far from the problems in the north, but it is far from peaceful. And I don’t know how you felt about considering yourself as an artist living in a peaceful environment. Rúrí: Well, I see Art as philosophy, and this philosophy is translated into a visual poem, the artworks. So Art has a meaning, which
PARADISE? - When?, 1998
4/16
“THE END OF ART IS PEACE.” SEAMUS HEANEY
RECOMMENDED
FALLING FICTIONS Berlin, Germany 路 September - November 2015 me Collectors Room Berlin / Olbricht Foundation
Anonym, Ohne Titel (Turmspringerin), um/around 1930 漏 Obricht Collection; Photo Villa Grisebach, Berlin 1/4
Claire Fontaine, Passe-Partout, 2008 Š Courtesy of the artist and Metro Pictures, New York 2/4
SPECIAL GUEST
The Bush (feat. Hรถgni Egilsson)
Ava's Cheesefield
www.thebushworld.com
7 Deadly Sins (feat. Tanya Tagaq)
Epilogue - Prologue
1/9
THIS CONTENT REQUIRES AN INTERNET CONNECTION
2/9
The Bush Project “The Bush” is an avant-garde project that puts both music and narrative together, devised, written, composed, arranged and produced by Diego Buongiorno. It is avantgarde because it is experimental, it is a novel approach to a creative process in contemporary work that defies definition. A new kind of work created by the author’s desire to promote the return of magic, “The Bush“ is the story of an imaginary place where we find Ava, a brave little heroine with butterfly wings who with her purity lights up the darkness of the forest, and fights the desperation of the dreamlike figures that she encounters. Ava is guided by Freyja, goddess of fertility and courage, endowed with prophetic virtues. 25 audio tracks have been composed for a true fairytale in 10 written chapters, that celebrates the need to go back to unconsciousness and to the courage of playing; more than 60 internationally known artists have been involved as far as musicians, photographers, visual artists, illustrators, directors and designers; they represent 18 different countries in this epic journey into music and contemporary art; 19 original drawings made for an enchanting picture book that captures the same magical spirit found in the album; two audiobooks and a limited edition vinyl box set; a surrealistic film, a contemporary vision of the fairytale where each song of the album will be a part of the story. The imagery of the film is beautiful and scary, but I am sure you will be wishing to get lost into it. “The Bush” is an independent and pure project, a complex and complete opera, a container of emotions that keeps a clear idea of play, a cornucopia of creative ideas that will develop into other projects such as live shows, exhibition concepts, installations and visual art, public performances and a host of others.
DESLIZA PARA LEER EN ESPAÑOL
3/6
8/9
“TOLERANCE, LIKE ANY ASPECT OF PEACE, IS FOREVER A WORK IN, NEVER COMPLETED, AND, NEVER ABANDONED PROGRESS.” OCTAVIA BUTLER
LEER EN ESPAﾃ前L
DAVID GILMOUR: SAILING FOR TOMORROW RATTLE THAT LOCK, 2015
by Daniel Vega 1/4
With a long career on his back, the enlightened David Gilmour seems to be nearing the end of the road. Since the break-up of the original Pink Floyd lineup in 1985, his creative output has never been the most rushed one, often taking long pauses between albums and projects. Although just last year we heard his work on tape thanks to the publishing/re-recording of The Endless River —the British band’s posthumous farewell—, we had to wait 9 years to listen to Rattle That Lock, his new solo album; each new piece we receive from this artist is like a pearl drawn from within the sand and rocks in the coast.
ways had a special touch; it may have to do with his hands or with the gear he uses, but probably a lot more with his approach to music. For the 69 year old guitarist, every note emitted by his amp is a coordinate for his soul. He has always had the ability to take a glimpse at the dark side of his psyche, that point where vital functions and biological connections flow into the unknown, the gray zone, the place where nightmares and dreams are created. But just when we are about to get lost into the melancholic nothingness, a short note sequence rekindles us, and “Rattle That Lock,” the first single, starts ringing with Gilmour’s signature strumming, and a bass and drums basis that recalls the more pop-accessible sound of The Wall. The harmonics in his Stratocaster are intact, his solos speaking the same language they did on “Shine On You Crazy Diamond,” forty years ago. He even adds a group chorus to the track, in the vein of “Another Brick In the Wall.” It is quite enjoyable that his current music can blend perfectly with any of his previous works. Gilmour is a complete artist, and he is having fun on this record. “Rattle That Lock” talks about shaking the chains off, getting tired and breaking the locks that tie us to the routine, or the ideas or fears that prevent us from reaching our goals, or just going out and seeing the sun, enjoying the wind.
"...EACH NEW PIECE WE RECEIVE FROM THIS ARTIST IS LIKE A PEARL DRAWN FROM WITHIN THE SAND AND ROCKS IN THE COAST."
Gilmour started recording the album shortly after releasing his last personal work, On An Island, 2006, and there actually are some bits of music that go as far back as the 1994 sessions for The Division Bell. Past and present merge in the songs, and the result is a vast ocean that Gilmour navigates in his little raft, seeing moments of his life and memories sealed on his soul pass him by.
The guitar player has said that the album is about a day in the life, with the different situations and reflections it entails; from “5 A.M.” he invites us to sail with him in a placid and melancholic tide (in his signature style, the album closes with “And Then…,” a reprise of “5 A.M.” with a recurring guitar motif). Gilmour has al-
2/4
VIVÍ EL ENCANTO
DESCUBRÍ EL ARTE DE MELIÃ RECOLETA
Ubicado en el corazón del Barrio de La Recoleta lo invitamos a descubrir nuestro lujoso hotel boutique, donde podrá ver nuestra exclusiva colección de VideoArte, disfrutar las mejores propuestas gastronómicas y vivir la experiencia de hospedarse la que fue la residencia de Evita Perón.
Bienvenido a la experiencia Meliá en Argentina. HABITACIONES | SUITES | TERRAZA | SPA | SALONES | BISTRÓ
Posadas 1557 (C1112ADA) Buenos Aires, Argentina. Tel.: (+54) 11 5353 4023 | Fax: (+54) 11 5353 4001 reservas@meliarecoletaplaza.com.ar | www.meliarecoletaplaza.com.ar
HAZ CLICK PARA RESERVAR
el viaje eres
tú
facebook.com/MeliaRecoleta twitter.com/MeliaRecoleta instagram.com/Melia.Recoleta
Zen Garden
NEXT PAGE
PREVIOUS PAGE
Developed by Homero V. Campos. Sounds by http://www.orangefreesounds.com/
Drag your finger and move the stones in the garden. You can also play some relaxing sounds.
Reset
“YOU CANNOT FIND PEACE BY AVOIDING LIFE.” VIRGINIA WOOLF
subscribe
LARMAGAZINE is free. If you like it you can still help us