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s �‰Jx—„…Œ king  of  pop  surrealism
( #(#. I -- -#)( ZBZPJ LVTBNBhT GMVPSFTDFOU IJOETJHIU OPX JO DIJMF Florence + The Machine Returns  with  How  Big  How  Blue  How  Beautiful
a n ic o s ver low’ of var cope h s ro mont o h the
When I was a kid (not too many years ago, like 10 or 13 years, more or less) society used to be very different: if you need an image of a famous painter or one of an animal, you had to cut it off from an old magazine or from a newspaper. Then, in order to add information to the picture, we used to transcribe the information from an Icarito (a scholar magazine that use to come into the newspaper every monday) and finally wrote it into a piece of cardboard. Voilá, after a whole weekend, your presentation was ready (then, of course, the horrible process of learning by heart all the information you wrote in the cardboard was right after because a whole weekend was not enough time to completethis epic taks). Now I’m on the other side. I’m the “adult in charge” who brings the information to my son, but things are very, very different now. Now What’s more, my son doesn’t need me anymore!: when he needs information, he takes my smartphone and google it. If he’s asked to bring a presentation to the school he doesn’t use cardboards and paper trimmings from Icarito, now he looks up for the images on the in- ternet and for the information, then he put all together into a PowerPoint presentation and it’s done. All by his own. The technological gap between 80/90’s children and the 00’s ones is huge. Is not that I’m not able to use technological devices (actually I can’t not use them), is that the way they face the world and the level of exposure to information they have is far more immediate than ten years ago. In the same hand, all social relations have changed, the way we interact is different and technological devices comes from the hand with it. As a product, sharing information and get to know about what is happening on the other side of the world became a basic need. Here on Everything we want to talk about everything, because now we can, because now we have the tools to share this information with the world and, from the comfort of our computer, produce a social revolution. Here we going to talk about a bit o’ this and that because today there is no limits if about sharing we are talking about and there is no place where someone can tell me not to opine. We are going to talk about everything because we can do it and we want to do it. And if you’re not agree, go back to the 80’s! Mauricio Oyarzo, Inmate W22A, Editor.
Cover image: Rosie’s Tea Party, Mark Ryden, The Meat Show, 2006.
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On this issue
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the new surrealism comes out of pop culture
Jq J+Jp Ju intense and fluorescent hindsight
o Ji ³Jo Ji Jo Ji Florence and the machine strikes again
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Veronica Varlowhs horoscope of the month A bit o this and that 2
article
Surrealism now comes out of
POP CULTURE! Surrealism painting has been re-defining since Mark Ryden cames to the scenario. Even though he’s not a new boy in the field, Ryden has been increasing his populatiry among the new generations, exposing a direct message about society, religion and pop icons such as Santa Claus, The Virgin Marie, Barbie, Jesus and many others. Let’s take a look into the works of the “Grand-father of surrealism” acourding to interview magazine on 2009.
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Ryden  was  born  in  Medford,  Oregon  on  January  20,  1963,  but  soon  he  moved  to  Southern  California,  where  he  grew  up.  His Â ďŹ rst  encounteres  with  painting  were  with  his  father,  who  made  a  living  painting,  restoring  and  customizing  cars. During  his  childhood  and  with  the  suppor  of  his  father  Mark  was  developing  his  ability,  inspired  by  fairytales  and  icons  wich  with  the  years  would  be  the  mark  of  his  style. In  1987  he  graduated  from  the  Art  Center  College  of  Design  in  Pasadena. Blending  themes  of  pop  culture  with  techniques  reminis- cent  of  the  old  masters,  Mark  Ryden  has  created  a  singu- lar  style  that  blurs  the  traditional  boundaries  between  high  and  low  art.  His  work Â ďŹ rst  garnered  attention  in  the  1990s  when  he  ushered  in  a  new  genre  of  painting,  "Pop  Surrealism",  dragging  a  host  of  followers  in  his  wake.  Ryden  has  trumped  the  initial  surrealist  strategies  by  choosing  subject  matter  loaded  with  cultural  connota- tion. Ryden’s  vocabulary  ranges  from  cryptic  to  cute,  treading  a Â ďŹ ne  line  between  nostalgic  clichĂŠ  and  disturbing  arche- type.  Seduced  by  his  inďŹ nitely  detailed  and  meticulously  glazed  surfaces,  the  viewer  is  confronted  with  the  juxtaposition  of  the  childhood  innocence  and  the  mysterious  recesses  of  the  soul.  A  subtle  disquiet  inhabits  his  paintings;Íž  the  work  is  achingly  beautiful  as  it  hints  at  darker  psychic  stuff  beneath  the  surface  of  cultural  kitsch.  In  Ryden's  world  cherubic  girls  rub  elbows  with  strange  and  mysterious Â ďŹ gures.  Ornately  carved  frames  lend  the  paintings  a  baroque  exuberance  that  adds  gravity  to  their  enigmatic  themes. On  October  of  1998  Ryden  release  his Â ďŹ rst  exhibition:  The  Meat  Show.  Meat  is  a  reoccurring  theme  in  Ry- On den’s  work.  Ryden  observes  the  disconnect  in  our  contemporary  culture  between  meat  we  use  for  food  and  the  living,  breathing  creature  it  comes  from.  “I  suppose  it  is  this  contradiction  that  brings  me  to  return  to  meat  in  my  art.â€?  According  to  Ryden,  meat  is  the  physical  substance  that  makes  all  of  us  alive  and  through  which  we  exist  in  this  reality.  All  of  us  are  wearing  our  bodies,  which  are  like  a  garment  of  meat.
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In 2010, "The Gay 90’s: Old Tyme Art Show" debuted at Paul Kasmin Gallery in New York. The central theme the show referenced the idealism and sentimentalism of the 1890s while addressing the role of kitsch and nostalgia in our current culture. Here Ryden explores the line between attraction and repul- sion to kitsch. According to The New York Times, "Ryden’s pictures hint at the psychic stuff that pullula- tes beneath the sentimental, nostalgic and naïve surface of modern kitsch." Ryden's "The Tree of Life" painting was included in the exhibition "The Artist's Museum, Los Angeles Ar- tists 1980-2010" at The Museum of Contemporary Art, Los Angeles (MOCA). The exhibition showcased artists who have helped shape the artistic dialogue in Los Angeles since the founding of MOCA over 30 years ago. Ryden hung on the same wall as Robert Williams. On May 13, 2014, Ryden released an album entitled ‘The Gay Nineties Old Tyme Music: Daisy Bell,’ that features Tyler the Creator, Weird Al, Katy Perry, Stan Ridgway of Wall Of Voodoo, and Danny Elfman, Mark Mothersbaugh of Devo, Nick Cave, Kirk Hammett of Metallica, and Everlast, all giving a different rendition of the same song, Daisy Bell (Bicycle Built for Two). The proceeds from the signed and limited edition record, benefited Little Kids Rock, a nonprofit that supports musical education in disadvantaged elementary schools.
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what to see
Yayoi Kusama:
*OGJOJUF 0CTFTTJPO Precursor of pop art, minimalism and feminist art, Yayoi has explored different facets, highlighting in all of them: painting, sculpture, installations, collage, film, writings, happenings and fashion. Her influence during the 70’s played until his contemporary Andy Warhol in the times in which he lived in New York. The work of the most important living artist of the last decades arrives in Santiago with an exposition of more than 100 pieces that portray her work since 1950 to 2013, including paintings, sculptures, videos, ins- tallations and the overwhelming 'Mirror Room'.
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Yayoi was born in Matsumoto, Japan, on 1929. Since her early years showed interest in art, but her mother forbade him to paint and, in tradition of their culture , she imposed her to marry a wealthy man and become a housewife. Yayoi knew that she wanted something different, and so, she had the courage to face his family and emigrate to America where he knew no one and nowhere. Kusama get to America in 1957. She moved to Seattle and stayed there for a year before moving to New York City. In NYC she met renowned artists such as Andy Warhol, Donald Judd and Joseph Cornell, marking a milestone in his career. From painting she pass to sculptures -known as Accumulations- and then to live performances and happenings -in which she painted nude participants with polka dots of twinkling colors-, becoming the major figure of the New York avant garde culture. In 1973 she returned to Japan and in 1977 was admitted voluntarily in a psychiatric clinic in Tokyo, where she lives until today. Since then, she has continued producing works in different media, in which she has added the publication of several novels, poetry and an autobiography. A sample of how meaningful is her work nowadays, is the invitation she received by Marc Jacobs in 2012 for a collaboration to Louis Vuitton in which she imposed her distinctic style.
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“One day I was looking at the red flower patterns of the tablecloth on a table, and when I looked up I saw the same pattern covering the ceiling, the windows and the walls, and finally all over the room, my body and the universe. I felt as if I had begun to self-obliterate, to revolve in the infinity of endless time and the absoluteness of space, and be reduced to nothingness. As I reali- zed it was actually happening and not just in my imagination, I was frightened. I knew I had to run away lest I should be deprived of my life by the spell of the red flowers. I ran desperately up the stairs. The steps below me began to the fall apart and I fell down the stairs straining my ankle.” -Yayoi Kusama
when from march 7th to June 7th where Centro de las Artes 660, 660 Rosario Norte, Level -2, Las Condes what time Monday to Sunday from 10:00 to 19: 30hrs. how much FREE! from monday to sunday between 10:00 to 16:00 From 18 to 19 hrs guide visits ($ 5.000 general;; Students and 3rd age: $ 3.000)
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review
The follow-up to 2011’s Ceremonials: How Big How Blue How Beautiful is here, Florence Welch and her Machine have coming back and they’re feeling like new. According Florence, their third album is ‘about trying to learn how live, and how to love in the world rather than trying to escape from it’, a messag that we can strongly check up on the latest two singles released “What Kind of Men” adn “St. Jude”, where, beside pleasing her fans, Florence show us all her acting ability.
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Florence and the Machine will release their third album, How Big How Blue How Beautiful, on 1 June. According to the musician, the follow-up to 2011’s Ceremonials comes off the back of a period of unrelenting tour dates, and a subsequent few years reacquainting herself with reality. How Big How Blue How Beautiful was written and recorded over the course of 2014. With arrangements by Will Gregory of Goldfrapp, it was produced by Markus Dravs (Björk, Arcade Fire, Coldplay) and includes contributions from regular Machine collaborators Paul Epworth, Isa Summers, Kid Harpoon as well as John Hill. “I “I felt he had that balance of organic and electronic capabilities, managing those two worlds,” Florence Welch says of Dravs. “He’s good with big sounds, and l like big sounds. And he’s good with trumpets, and I knew I wanted a brass section on this record.” While previous albums revelled in gothic themes like death, this time, she says, she concentrates on celebrating life. “Ceremonials was so fixated on death and water, and the idea of escape or transcendence through death, but the new album became about trying to learn how live, and how to love in the learn world rather than trying to escape from it. Which is frightening, because I’m not hiding behind anything, but it felt like something I had to do.” On 10 February, the musician publi- shed a trailer to the album, featuring a snippet of its title track. “The trumpets at the end of that song – that’s what love feels like to me,” she says. “An endless brass section that goes off into space. And it takes you with it. You’re so up there. And that’s what music so feels like to me. You want it just to pour out endlessly, and it’s the most amazing feeling.” Florence and the Machine’s debut album Lungs was released in 2009, winning the best British album award at the 2010 Brit awards as well as a nomination for best new artist at the 53rd Grammy awards.
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Miscellaneous
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