A good listener is usually thinking about something else.
their first loves, lies and secrets.
Erna and Hrefna by Inaoka
Ariko Inaoka is a Japanese photographer who has been documenting the story of two sisters growing up in Iceland; their first loves, lies and secrets. The identical twins girls, Erna and Hrefna, are sensual, fiercely proud, aloof. They are spirited, independent, off in a dream world of their own. Ariko as another storyteller supplies us with the vivid details of their shared childhood experiences and their gradual growing apart and is shooting them since they were only nine years old in 2009, while the project will be ongoing untill they reach the age of sixteen years old. Ariko’s intentions are to capture their own coming of age experiences, whatever that may mean. We can tell the project of these intertwined lives will create a certain nostalgia of the declaration of these once young girls in love with life itself.
In parallel to Louise Bourgeois’ work, which stems from childhood memories that transcend into preferred outcomes of past realities or events, Gabriela Fridriksdottir too recreates past recollections within her work. However, these are less an autobiographical fantasy than they are Icelandic myths and legends. Born in Reykjavik, Iceland, in 1971, Fridrikdottir recounts the folklore sagas of her Icelandic culture. Ancient Norse Mythology and Icelandic tales are expressed via various platforms, serving as the narrators of these historical stories. Through these platforms Fridrikdottir simultaneously works with drawing, video, sculpture, performance painting and writing. These numerous approaches enable Fridrikdottir to metamorphose what might start as a simple sketch into short films, or brief writings into elaborate performances. Not unlike Chinese whispers, which relies on many narrators in order to pass the message from one person to another, and accumulates multiple subtle distortions that result in a significant change to the outcome of the original message, Fridrikdottir’s methodology also recounts fragments of messages, often utilising a piece of a story in a previous work and emphasising its importance in a new work. In doing this, Fridrikdottir ultimately alters Norse Mythology and the audience’s entry point and perception of these Icelandic Sagas.
A man of few words, but the images really do speak for themselves. Young photographer Ren Hang from China. Fetishism, homosexuality and a voyeuristic view of lesser known life in China. There are two faces to the way he approaches his photographs, some are staged whilst others appear candid snapshots, blurring the line between reality and fantasy.
“I was born in Tulsa, Oklahoma in January 1943. When I was 16 I started shooting valo. Valo was a nasel inhaler you could buy at the drugstore for a dollar with a tremendous amount of amphetamine in it. We would work up a shot and shoot it. I shot with my friends everyday through high school. When I was eighteen I left Tulsa and went to art school and studied photography. In 1963 I went back to Tulsa and shot valo and took pictures for a few months. Then…”
Loie Fuller (1862 - 1928) performed throughout the United States and Europe in the late nineteenth and early twentieth century. In her distinctive Serpentine Dance, Fuller swirled billowing costumes and fabric above her head. Underneath the surging fabric and colored lights her body was engaged in perpetual motion, which was sustained by movement that radiated from the core of her body. Fuller has not traditionally been considered a modern dancer, although recent research by Ann Cooper Albright and Rhonda K. Garelick demonstrate that Fuller’s use of the core as the center of her movement re-situates her as such. At the same time, though, elements of Fuller’s performances also align her both aesthetically and philosophically with the Symbolists. In her Serpentine Dance, Fuller exhibits an aesthetic that appears similar to that which the Symbolists strove to achieve in their theatre, and she employed the modern notion that movement should evolve from an internal impulse.
Though Wyeth did a lot of portraiture, he is best known for interiors, still lifes and landscapes in which figures are largely absent—Christina’s World being the most notable exception. As the years passed his palette lightened up somewhat and late works contain hints of vibrant color.
Certain art professionals decry Andrew Wyeth’s work as mediocre at best, even as a growing segment champions it. “The People’s Painter’s” output is beloved by an overwhelming majority of art fans, though, and please know this as well: there are no artists who wouldn’t have jumped at the chance to observe his working technique.
Billboard Swingset - “Double Happiness responds to the society of materialism where individual desires seem to be prevailing over all. This nomad piece of urban furniture allows the reactivation of different public spaces and enables inhabitants to reappropriate fragments of their city. They will both escape and dominate public space through a game of equilibrium and desequilibrium. By playing this “risky” game, and testing their own limits, two persons can experience together a new perception of space and recover an awareness of the physical world,”
A great part of her work concentrates on the human body. At the beginning, she worked on the body as a fragmented structure which she sewed and embroidered back into shape. The awareness of the human body and its “stuffed” organs were created in a raw primal manner. From “Modes of Dressing” this view of the body and its interior is displaced outwards, toward its surroundings drwaing focus on the links which tie it to others. She uses the dress as a means of socialization and simulataneously as a metaphor of the human body.