Friday 31st July 09Elektro, Vienna
31/07/2009
30/07/2009
29/07/2009
Two songs for the day - Into NDW !
NEUE DEUTSCHE WELLE
"Neue Deutsche Welle — Aus grauer Städte Mauern"
( New German Wave - From Grey City wall)
GOLDENER REITER by JOACHIM WITT
MAJOR TOM by PETER SCHILLING
"Neue Deutsche Welle — Aus grauer Städte Mauern"
( New German Wave - From Grey City wall)
From its beginnings in the late 70s to 1981, the Neue Deutsche Welle was mostly an underground movement with roots in brit punk and new wave; it quickly developed into an original and distinct style, influenced in no small part by the different sound and rythm of the german language which many of the bands had adapted from early on.
GOLDENER REITER by JOACHIM WITT
MAJOR TOM by PETER SCHILLING
When Mickey Mouse meets Lenine & Jesus - Alexander Kosolapov
Russian born but New York based artist Alexander Kosolapov was born right after the war and lived the high times of the soviet union and it's downfall from is relocated home in the USA.
His work is based on merging the stereotypes of the american and the russian mass-culture building a new mythology leveling mickey mouse, jesus and staline into the mass market common signs.
His work is based on merging the stereotypes of the american and the russian mass-culture building a new mythology leveling mickey mouse, jesus and staline into the mass market common signs.
All images courtesy of Alexander Kosolapov
28/07/2009
How Not To Paint - Introducing Rade Petrasevic
Rade Petrasevic paints, and he doesn't try to avoid the clichés, he starts with it as "you will anyway automatically fall right back in there". Vienna based artist Petrasevic's work catches different energies, mixing them up, overlapping layers of media, cuting out raw slices of visual informations, building an art based on piling up clashing ideas, parasite-like behaviour and "hope for a new shit coming out of all that..."
Petrasevic enjoys Google and other search engine as it's primary inspiration source trying to break out the pictorialist contemporary painting's fences all around, aiming to be true to the medium he's using. Following some kind of neo-greenbergian quest he is making a special point that " the painting needs to be still recognizable as a painting". The unfinshed and the unclean, the layers and strates participating to that purity of the medium even if the "message" is coming out of an internet and tv information mash up topped with banality, a recurrent term in Petrasevic's references, as the only way to "be true to our time".
Of course referencing the mass media seems like old news but Petrasevic renders it in such an awkward way, inducing reminiscence of televisual and hypertextual content, creating with his paintings the experience of a feeling that one has witnessed them previously although the exact circumances of the previous encounter are uncertain, leaving you with the uncomfort of being confronted to something we don't know we already knew.
But above all, there's so much going into Petrasevic's painting that only more can come out, opening new possibilities, alternative truth in constant movement, like a flux of blury images in a silver-screened souvenir.
Petrasevic enjoys Google and other search engine as it's primary inspiration source trying to break out the pictorialist contemporary painting's fences all around, aiming to be true to the medium he's using. Following some kind of neo-greenbergian quest he is making a special point that " the painting needs to be still recognizable as a painting". The unfinshed and the unclean, the layers and strates participating to that purity of the medium even if the "message" is coming out of an internet and tv information mash up topped with banality, a recurrent term in Petrasevic's references, as the only way to "be true to our time".
Of course referencing the mass media seems like old news but Petrasevic renders it in such an awkward way, inducing reminiscence of televisual and hypertextual content, creating with his paintings the experience of a feeling that one has witnessed them previously although the exact circumances of the previous encounter are uncertain, leaving you with the uncomfort of being confronted to something we don't know we already knew.
But above all, there's so much going into Petrasevic's painting that only more can come out, opening new possibilities, alternative truth in constant movement, like a flux of blury images in a silver-screened souvenir.
All paintings are courtesy of Rade Petrasevic
more on http://radepetrasevic.blogspot.com/
more on http://radepetrasevic.blogspot.com/
FACE TO FACE - Levi Van Veluw
Dutch artist Levi Van Veluw uses his own face as a canvas to recreate landscape, surface and some even stranger installation or texture.
All images from www.levivanveluw.com
Gosha Rubchinkiy's Evil Empire
You should already know about Gosha Rubchinskiy, russian menswear designer who was introduced here a couple of weeks ago, this time Rubchinskiy returns with his spring summer collection and goes on the same path with "Evil Empire" mixing the different russian youth subculture into menswear collection where sportswear meets black metal studded gear, skinheads blends into rave party outfit modeled by russian street kids that "might be dangerous but worth the risk".
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