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RESERVOIR (Ascesa) by John Grade Studio

Arte Sella Sculpture Park, Borgo Valsugana, Trento, Italy.

Suspended above a clearing in a grove of pine trees, Reservoir is made up of five thousand individually heat-formed, clear droplets framed in steam-bent wood. The delicate droplets are attached to a pair of clear filament nets that are supported by tree trunks above. As rainwater or snow accumulates in the droplets, the position and shape of the nets lower and change. As collected water evaporates, the sculpture rises back to its original configuration. Sheathed springs below pulleys limit vertical range of motion so the sculpture remains at least ten feet above the ground. Even a very light rain creates enough downward movement to be comprehended visually by viewers below. When dry, the sculpture weighs 70 pounds. When filled by a heavy rainfall, the sculpture can exceed 800 pounds.
Periodically the sculpture will be manually manipulated to rise and fall to engage with the movements initiated by dancers. The varied topography surrounding the site of the sculpture offers viewers both a vantage directly below the cloud-like mass as well as a view looking across the mid-line of the sculpture slightly above its changing center of mass.

RESERVOIR (Ascesa) from John Grade on Vimeo.

via John Grade Studio

Photolux 2018 | Lucca

Lucca, November 17 – December 9, 2018

© Ronaldo Schemidt, “Venezuela Crisis”, 2017

Tokyo Tsukiji © Nicola Tanzini

Svetlana © Mary Gelman

© Adam Ferguson for The New York Times – WPP 2018

Photolux Festival is the International Festival of Photography that takes place in Lucca, Tuscany.
As a symbol of the project, they chose Light, the essence of Photography. In today’s world, where we are constantly bombarded by a plethora of images, PHOTOLUX, like a camera obscura of old times, aims to display a clear and well-defined selection of work from the international photographic scene.
With its energetic and innovative outlook, PHOTOLUX aspires to be a crossroads of exchange for renowned masters, experts and photography lovers, while also shedding light on new and emerging talents, as well as cutting edge artistic practices.

PROGRAM 2018 here


Self-Portrait by Rimel Neffati!

Welcome to the magical world of Rimel Neffati. A self taught artist from France who makes portraits that will draw you straight to a world of circus, pin-ups, skulls and above all, beauty. Rimel started taking photographs at the end of 2008. With her works she proves that black and white can be the perfect ingredient for countless breathtaking works of art.

The woman in her works has many different faces, and is no one other than Rimel herself. “I started by making self-portraits because it was an easy way: full control on time, ideas, (no) limits, model, and then because I never had the idea of ​​being a “proper” photographer even though I work with a camera”.

Perhaps her idea of not being a ‘proper photographer’ is what makes her so great at what she does, as it is the playfulness and the blurriness of her works that give them a very strong identity. It’s often said that beauty can be found in imperfection. I think in Rimel’s case, the imperfections are what make her works perfect. “I love what I do, I have this feeling that I found my way, not only by self-portraits but beyond in creating, I feel I have so much to tell in this way”.

via Lomography

Mina: I Look Street Style Anni 60 e Anni 70

Dedicato a Mina. Il numero di ottobre di Vogue Italia festeggia i 60 anni di carriera della cantante e celebra il suo stile, nelle versione “originale” e nella reintepretazione di Gisele Bündchen.

Mina, diva degli Anni 60 e 70. Mina, mito assoluto della musica italiana. Mina icona di stile. Uno stile più che riconoscibile, a partire dal make up fino alle mise che hanno fatto la storia della TV italiana in quei fortunati anni.

Ma com’erano i suoi look quando era lontano dal palcoscenico? ha selezionato una serie di scatti street style che ritraggono la Tigre di Cremona – come è soprannominata – nella sua vita privata. Nelle foto si può notare l’evoluzione di stile che parte dalle silhouette ad A degli Anni 60 fino ad arrivare alla linea svasata Seventy style.


Reebok drops The First ‘Cotton + Corn’ Shoe

Global fitness brand Reebok has dropped its first plant-based shoe — the ‘NPC UK cotton + corn.’ the model combines the vegetable, corn, with cotton as the key ingredients used in manufacturing. the design of the sneaker sees the upper comprised of organic cotton and the base from industrially grown corn (a non-food source).

For this project, rebook partnered with dupont tate & lyle bio products, who developed susterra® propanediol.
Dupont tate & lyle bio products provided a ‘pure, petroleum-free, non-toxic, 100% USDA certified bio-based product, derived from field corn,‘ used to make the sole of the shoes. in addition, the color is comprised of undid materials with the packaging 100% recycled, and the insole made from castor bean oil.

The cotton + cotton project is part of reebok’s initiative to make shoes out of things that grow.
According to bill mcinnis, head of reebok future, the ultimate goal is to ‘create a broad selection of bio-based footwear that can be composted after use. We’ll then use that compost as part of the soil to grow the materials for the next range of shoes. We want to take the entire cycle into account; to go from dust to dust.‘

via designboom

THE BLANKET at Burning Man 2018

Giant NASA Space Blanket Planned to Cover This Year’s Burning Man

With announcements of a giant reflective orb installation almost complete, this year’s upcoming Burning Man festival looks to up the ante on large, reflective installation pieces. The latest installation proposal is a 10,000 square meter reflective silver NASA space blanket designed by Russia-based architect Sasha Shtanuk.

The large reflective blanket will be made of 3,350 ultralight polyester NASA space blankets, which will constantly change shapes to look like gigantic waves. The installation will also provide a chilly gathering space in the hot desert location, since the metallic silver side of the blanket reflects up to 97 percent of radiated heat.

To bring the project to life, Shtanuk has started an Indiegogo campaign to help raise funds for the materials and transportation of the giant NASA space blanket installation, which has a flexible goal of $17,500 USD.

shtanuk aims at bringing a safe and friendly gathering space into the hot desert. ‘ever since we were children and throughout our lives, we share the space under the blanket with lovers, friends, and family,’ says the architect. ‘under the blanket, there are no strangers.’


Artificial Swarms In The Nature

Thomas Jackson’s work is confusing but certainly also fascinating. On his photographs, beautiful landscapes are invaded by sculptural swarms of cheap and junky objects, from cheese balls to plastic bags. They are placed in nature, where they don’t belong, in a conversational way. They dialogue with the landscape, the weather, whoever passes by, and are as well ready to start conversing with you since, above all, the artist wants the viewer to interpret these mesmerizing photographs freely. Let’s go?

via Metal Mag

Vinyl Records Turn Into ‘Music You Can See’ In New AR App By Wieden + Kennedy

The brainchild of creative agency wieden + kennedy, necessary explosion is a new app, which pairs music with AR (augmented reality) to create ‘music you can see’. Part music video, part interactive sleeve design, the app visualizes SOS, the debut album of its namesake musician, turning its 11 tracks into unique AR sculptures that spin atop the vinyl record on a turntable.

The nostalgia of listening to records and physically browsing vinyl sleeves as an extension of the artist’s vision tiggered wieden + kennedy to design the necessary explosion app. Users can interact with the AR content through the iOS app, which, using audio fingerprinting technology, allows them to engage with the sculptures and move them around.

To create the digital sculptures for necessary explosion, W+K worked closely with the artist to visually reflect the sound and underlying themes of the album. Interpreting the artist’s internal mindscape, the collection of visuals comprises of explosions, rainbows, skulls, flowers and surf-inspired waves. the app, which is now available to download on the app store, is intended to be experienced alongside the SOS vinyl LP (available at CDBaby), yet, it can also be used on its own.

The app is the first in a series produced by LAVA, a new creative platform focusing on pairing music with AR to produce immersive experiences. Evolving the way we listen and create ‘music you can see’, each future iteration will be specific to the artist’s vision, offering users new, unique visuals for every album.

Necessary Explosion iOS App from W+K_DPTNR on Vimeo.

Via designboom

Refettorio Felix _ London _ Massimo Bottura


There’s a powerful synergy to Refettorio Felix: the energy and drive of chef Massimo Bottura, the empathy of designer Ilse Crawford, and the tireless conviction of The Felix Project. But, as with most powerful ideas, the end result adds up to even more than its individual components. As Bottura puts it: “London is a city full of challenges and inequalities. Food waste is rampant. There are growing concerns about food poverty and social isolation. Refettorio Felix is not just a place where people come to eat a meal. It is a place for inclusion, engagement, and sharing, where everyone can feel welcomed and be inspired.”

Bottura’s idea to serve food to those in need using surplus ingredients is one of those accidents which turned into a powerful doctrine for life. In 2015, the celebrated Italian chef put his three Michelin stars to radical use by opening a temporary soup kitchen in Milan called Refettorio Ambrosiano. The idea was to highlight food surplus and waste, while feeding the vulnerable. The only thing that’s changed about the project’s mantra is that it’s no longer temporary, and it has taken off worldwide. Bottura says that the moment he realised that he’d created something unstoppable was when one of his chef friends visited the Refettorio Ambrosiano. “René Rezdepi came to cook in Milan, and he said: ‘You know Massimo, this is for life.’ And yes, he was right.” Bottura and his wife Lara founded Food for Soul with the aim of taking their vision of good food, cooked well, and set about fighting food waste and feeding the hungry anywhere in the world that wanted their help. “In 2016, we built Refettorio Gastromotiva in Rio de Janeiro during the Olympics. Soup kitchens were closed to hide the so-called ‘ugly’ side of the city from the spotlight of such an important occasion. So, we decided to open our community kitchen.” It’s a typical Bottura gesture – those in charge wanted to hide poverty and deprivation, he wanted to highlight it.

Refettorio Felix opened at St Cuthbert’s in Kensington, London this year, serving lunch to around 100 people a day. First, the space had to be transformed from what had been a functional, slightly dismal community space. This is where designer and creative director Ilse Crawford of Studioilse came in. She worked pro bono, and persuaded furniture and design companies to donate their chairs, tables, furnishings, cutlery, and glasses. St Cuthbert’s now has that uncanny air of a place that looks familiar, yet entirely different. The walls are a darker, more calming shade, the lighting more soothing, the plants plentiful.

Crawford, revered by many in her profession, doesn’t talk like any designer I’ve ever met. In her opinion, it isn’t about how a design looks, but rather about what it does. “Design is not an aesthetic,” she argues. “It’s a methodology that allows you to find the right answer. Staying the same is never the right answer.” It’s a powerful mantra, and one which fits Bottura’s vision entirely. As Crawford says: “If you have the energy of Massimo and our team, it’s like a kind of magic. Our interest is to make spaces that make people happy.” Crawford, who’s also head of the Man and Wellbeing design course at Eindhoven University, has created a mind map of provocative words for her students, which uses phrases such as ‘the fight to be human’, ‘things that last’, ‘make the normal special’, ‘together through food’, and ‘we are the system’, all of which, perhaps not surprisingly, suit Refettorio Felix perfectly. She also, against expectations, likes the idea that people might appropriate her ideas. “You have to be prepared to be copied if you want to make an impact,” she says. “We have to let go of the idea that we are the only people that can do it. It’s about creating the framework. We often try to do too much, but if you create a frame, people can fill it. There’s no shortage of people who want to help, if the system is there. I’m optimistic and pragmatic. Someone has to do it, start it – Massimo has started the thing. He’s doing it in a viral way, and he wants
people to copy him.”

The third, vital part of Refettorio Felix is, of course, Felix himself. Felix Byam Shaw was only 14 years old when he died suddenly from meningitis in 2014. He was a remarkable boy whom his friends and family adored. Ask anyone who knew him, and they all say the same thing: he was full of kindness and compassion for others. The Felix Project was founded to celebrate those qualities, and now a fleet of Felix vans, driven by volunteers, collects surplus food from supermarkets each morning and delivers it to centres for the homeless and vulnerable. Refettorio Felix is one of those places.

If there’s one gesture that embodies everything that Bottura, Crawford, and The Felix Project try to do, it’s that those who eat at Refettorio Felix have their food brought to them at the table. Bottura puts it like this: “Our guests include both the homeless, and individuals and families in situations of food poverty, food insecurity, and social vulnerability. By using quality tableware and restaurant style service, we want to make each guest feel valued and bring a sense of dignity back to the table.” His conviction that people should not have to queue for their food, but rather be served, came to him when he opened the original refettorio in Milan. “I still remember the very first nights there, when people were silently sitting at the table and eating their meals. A couple of guests barely spoke to each other. But a few weeks later, every night was a huge party; guests, volunteers, and chefs were sharing the same table and the same meal. We knew each other by name. Hospitality can lead to social inclusion through the simple gesture of serving meals at the table and saying, ‘Hi, how was the soup?’”

On the day that Refettorio Felix opened, Bottura himself cooked, and fittingly, began with soup. “It was a great responsibility. We served a soup that I called ‘Soup of Everything’, because it was the result of many different vegetables enriched with a broth made from Parmigiano Reggiano cheese rinds. Then we served pasta with pesto sauce, made with humble breadcrumbs instead of pine nuts; and finally, we served an Earl-Grey-tea-and-biscuits ice cream to honour the wonderful food culture of the UK. But this meal is only one example among many others created by the chefs and the resident kitchen team following the same principles — it is healthy and nutritious; it is seasonal, thanks to the products that The Felix Project delivers to our door every morning; it is made by recovering food surplus; it is genuine and heart warming; and it is delicious.” In many ways, that first meal sums up this remarkable venture by bringing together passionate volunteers who are trying to make things better for others, whilst honouring the legacy of a boy everyone loved. It really is a ‘Soup of Everything’.

WORDS: Charlie Lee-Potter
PHOTOS: Rory Gardiner

via cerealmag

The Native American Artist: Charlene Holy Bear!

The Native American artist Charlene Holy Bear’s first foray into fashion came four years ago, when she made a last-minute decision to attend the annual Gathering of Nations in Albuquerque, a pan-tribal festival also known as “North America’s largest powwow.”
“Everyone gets all dressed up in their traditional regalia,” says Holy Bear, a member of the Standing Rock Lakota Sioux Tribe who is known for her intricate beadwork. “I hadn’t had any time to prepare outfits for us but I wanted my 4-year-old son Justus to look really cool. He had a new pair of slip-on Vans and I suddenly had an idea, looking at the checkerboard design.” Over the course of the three-day road trip to the festival, Holy Bear started hand-beading the kicks and the finished product—a classic skate shoe tricked out with vibrantly intricate traditional Lakota beadwork—now has a waiting list full of street style–obsessed collectors clamoring for a customized pair.
“Those Vans really reminded me of traditional moccasins,” says Holy Bear. “Once they were beaded they had this sort of urban Indian vibe so I braided my son’s hair, put on those shoes and he was the coolest little guy at the powwow.

Born into a family of artists, Holy Bear first began hand-beading traditional Plains dolls when she was just five years old, learning from her sister Rhonda Holy Bear, an accomplished artist in her own right. A few years later, she entered a doll into a youth competition at the Santa Fe Indian Market and won her first award, a second-place ribbon. She used the prize money to buy her own horse. As a teen, she was picked up by the Morning Star Gallery in Santa Fe and used the sales of her dolls to put herself through the University of New Mexico, where she studied fine arts and art history. After graduating, Holy Bear spent years on the Native American arts fair circuit, traveling from California to Arizona, New Mexico, Oklahoma, and Indiana just to sell her wares. “Social media all changed that,” she says. “I started posting photos on Instagram and people started to contact me looking to buy or have pieces made instead.”

Inspired by powwow regalia, Holy Bear has spent the last few years working on neo-traditional pendants and earrings depicting florals and animals like hummingbirds and swallows made from antique Venetian seed beads. “I love working on the shoes though because it gives me such creative freedom,” she says. “I’m really into florals right now and I’ve been working on some new designs for the Vans.” Holy Bear is still a one-woman show, laying out every pattern and hand-stitching each bead using traditional methods. Each custom pair of Vans can take up to two weeks to produce; prices vary depending on the type of beads used (14-karat gold are a popular choice). “To me these Vans really represent a modern spin on native fashion,” she says.

via vogue

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