da série "do Lat. misericordĭa." de Paulo S. Carvalho
do Lat. misericordĭa
"peça de madeira saliente e dobrável, simples ou esculpida, que se colocava sob o assento das cadeiras nos coros de igrejas e que permitia, quando levantada, que o clérigo ali apoiasse o corpo, de modo a parecer estar de pé"
The last days of W
do "livro jornal " The last days of W - Alec Soth"During these last days of the administration, what is the point of protest, satire or any other sort of rabble-rousing? In assembling this collection of pictures I’ve made over the last eight years, I’m not really trying to accomplish much at all. But as President Bush once said, 'One of the great things about books is, sometimes there are some fantastic pictures.'" - Alec Soth
“Explosure” at Phillips de Pury & Co
da série "Explosure" - Tierney GeardonThey range from the state of her fingernails — “They’re a mess; I’ve been tie-dyeing” — to her body odor — “I’ve just been to the acupuncturist and smell like fire” — to her thoughts on a friend’s dress — “Where’s it from?”
It should come as no surprise, then, that her first solo exhibit in London, “Explosure” at Phillips de Pury & Co. through Jan. 27, comprises a series of double-exposed photographs, whose varied subjects include her naked self, her toddler children, wild animals and men in varying states of undress, all imbued with an eerie, dreamlike quality.
Through fusing and layering the images, Gearon has created a collection of unlikely worlds: Sari-clad Indian women wade through water alongside a child swimming in Mexico, ghostlike images of little girls run through alpine valleys and brown bears play with kids by a lake. “I love the element of surprise that double exposure brings, and I do think the best art comes from accidents,” says Gearon during a walk-through of the show with her father, Michael, and various friends.
She admits she likes working with chaos, too. “Double exposure is a mess. Making these photos was a way of untangling the mess in my personal life — four kids, three dads, you know? — and putting order in it.”
This may be her first solo show here (it moves to Los Angeles’ Ace Gallery on Feb. 19), but Gearon, 45, is no stranger to London. A former model-turned-photographer, she was spotted by Kay Saatchi, who was married at the time to London’s legendary art collector Charles Saatchi. Gearon is an Atlanta native and lives in Los Angeles, but she’s always been grouped with London’s Young British Artists, including Gary Hume, Marc Quinn, Damien Hirst and Tracey Emin. Her career flourished when Charles Saatchi bought Gearon’s early — and immensely controversial — photographs of her naked children, and put them in his “I Am a Camera” show at the Saatchi Gallery in spring 2001. Scotland Yard officers raided the gallery and threatened to seize the photos under antichild pornography legislation. Gearon, consequently, shot to fame.
How times have changed: None of the British newspapers has made any fuss about the naked children in “Explosure,” and so far, the men from Scotland Yard are nowhere to be found.
The recent opening-night fete was a civilized, low-key affair with guests including Kay Saatchi, Hume, Quinn, Annie Lennox, Peter Soros, Amanda Eliasch, Karen Groos, Jessica de Rothschild, Johnny Pigozzi and Mollie Dent-Brocklehurst. Simon de Pury calls Gearon a “21st-century Diane Arbus,” and says he finds her work “very disturbing. She is a gifted and important artist and stands apart from anyone else in photography right now.”
Gearon’s father has a less meta take on his daughter’s work: “She doesn’t shut up. It’s like trying to cap a well.”" in:http://www.wwd.com/lifestyle-news/eye/londons-must-see-photo-exhibit1947004?gnewsid=0460b0f1e41f49c9ffee7c7aaeafafb1
Rufus Wainwright - Going to a town
Wainwright said of the song:
"The meaning is very plain, mainly that I'm having problems with the United States at the moment, as we all are. We all love America, I think everybody does in a certain way. But we have to admit that there's just been too many mistakes made in the recent past over too many issues, and we've just got to deal with that fact."
—Rufus Wainwright, rufuswainwright.com Audio Commentary - April 2007
Rufus Wainwright - Going To A Town
The music video for the song was directed by Sophie Muller, who also directed Wainwright's first music video ("April Fools"). The video premiered in April 2007, and Logo aired a 20-minute feature on the making of the video on April 27, 2007 (Making the Video: Going to a Town). The video begins with Wainwright as a D.H. Lawrence-like character, sitting alone at a table in an isolated room. As the video progresses, a large bouquet of roses appears and viewers see Wainwright with a bed cot. Three women emerge, dressed in black clothing and veils, visibly mourning the loss of their husbands. At times, their presence is abstract, digitally projected as if they exist only in Wainwright's character's mind. Other times, Wainwright is physically interacting with them within the same room.
Viewers then see images of the roses burning, the women crying, and catching Wainwright as he falls to the ground. With light cast upon him from a single window, they place a laurel wreath on his head. As his arms are spread out and straight across, and light is cast upon him as if by divine intervention, this image is clearly meant to symbolize a crucifixion.
In Making the Video, Wainwright discusses the various images and elements depicted in the music video. He states the song is "an emotional reaction to a lover you had a fight with", and is about "mourning" and "moving on to bigger and better things." The three women in the video represent three widows, an element he took from Mozart's The Magic Flute. One woman represents Jacqueline Kennedy Onassis, another Frida Kahlo, and the third a more abstract, "fairy tale-like" woman from The Magic Flute. Later in the interview, Wainwright states the women represent The Three Graces. He claims the burning roses symbolize "purification by fire", representing the United States--"beautiful, but thorny." Admitting "Going to a Town" is more about birth than destruction, he believes Americans (at the time the video was made) need to "change things" and "make sacrifices". The laurel wreath, he says, also represents the US, which "dominates the planet but is in peril of losing democracy." in http://en.wikipedia.org/wiki/Going_to_a_Town
Viewers then see images of the roses burning, the women crying, and catching Wainwright as he falls to the ground. With light cast upon him from a single window, they place a laurel wreath on his head. As his arms are spread out and straight across, and light is cast upon him as if by divine intervention, this image is clearly meant to symbolize a crucifixion.
In Making the Video, Wainwright discusses the various images and elements depicted in the music video. He states the song is "an emotional reaction to a lover you had a fight with", and is about "mourning" and "moving on to bigger and better things." The three women in the video represent three widows, an element he took from Mozart's The Magic Flute. One woman represents Jacqueline Kennedy Onassis, another Frida Kahlo, and the third a more abstract, "fairy tale-like" woman from The Magic Flute. Later in the interview, Wainwright states the women represent The Three Graces. He claims the burning roses symbolize "purification by fire", representing the United States--"beautiful, but thorny." Admitting "Going to a Town" is more about birth than destruction, he believes Americans (at the time the video was made) need to "change things" and "make sacrifices". The laurel wreath, he says, also represents the US, which "dominates the planet but is in peril of losing democracy." in http://en.wikipedia.org/wiki/Going_to_a_Town
Tauro
Da série "Tauro" de Paulo S. Carvalho" - Sevilla 2008"Como el toro he nacido para el luto
y el dolor, como el toro estoy marcado
por un hierro infernal en el costado
y por varón en la ingle con un fruto.
Como el toro lo encuentra diminuto
todo mi corazón desmesurado,
y del rostro del beso enamorado,
como el toro a tu amor se lo disputo.
Como el toro me crezco en el castigo,
la lengua en corazón tengo bañada
y llevo al cuello un vendaval sonoro.
Como el toro te sigo y te persigo,
y dejas mi deseo en una espada,
como el toro burlado, como el toro."
Miguel Hernández
Da série "Tauro" de Paulo S. Carvalho" - Sevilla 2008Nollywood by Pieter Hugo @ Michael Stevenson
Pieter Hugo tem vindo a mostrar aqueles seres que todos gostaríamos de ignorar, que não existissem. Mantendo o seu olhar que é único, traz-nos uma série bem menos desconfortável.
Nollywood
2008
In his new body of work, Pieter Hugo explores the multilayered reality of the Nigerian film industry. Nollywood is, surprisingly, the third largest film industry in the world, releasing onto the market between 500 and 1 000 movies each year.
Nollywood produces movies on its own terms, telling stories that appeal to and reflect the lives of its public: it is a rare instance of self-representation in Africa. The continent has a rich tradition of story-telling that has been expressed abundantly through oral and written fiction, but has never been conveyed through the mass media before. Stars are local actors; plots confront the public with familiar situations of romance, comedy, witchcraft, bribery, prostitution. The narrative is overdramatic, deprived of happy endings, tragic. The aesthetic is loud, violent, excessive; nothing is said, everything is shouted.
Hugo has been increasingly intrigued, in his travels through West Africa, by this hyperactive industry, in constant production despite tight budgets and strict production schedules. Over time he compiled a list of the iconic images and scenes that had attracted his attention, and he imagined photographing in these settings.
His first attempt to photograph on film sets documenting these scenes failed to produce pictures that fully mirrored the intensity of the situations. He then decided to bring his interpretation of these staged realities into another realm by assembling a team of forty actors and assistants. He asked them to recreate the stereotypical myths and symbols that characterise Nollywood productions, reproducing the dynamic of movie sets.
The tableaux of the series confront us with a verisimilar world: the situations are clearly surreal but they could be real on a set; furthermore, they are rooted in the local symbolic imaginary. The boundaries between documentary and fiction become very fluid, and we are left wondering whether our perceptions of the real world are indeed real.in http://www.michaelstevenson.com/contemporary/exhibitions/hugo/nollywood_index.htm
...
Paulo S. CarvalhoEllipse foundation
Eija-Liisa AHTILA, Vasco ARAÚJO, John BALDESSARI, Stephan BALKENHOL, Matthew BARNEY, Ashley BICKERTON, Louise BOURGEOIS, Rineke DIJKSTRA, Carroll DUNHAM, Jimmie DURHAM, Gardar Eide EINARSSON, Robert GOBER, Nan GOLDIN, Felix GONZALEZ-TORRES, Douglas GORDON, Thomas HIRSCHHORN, Laurie SIMMONS, Jenny HOLZER, José IRAOLA, Mike KELLEY, Barbara KRUGER, Zoe LEONARD, Sherrie LEVINE, Glenn LIGON, Sharon LOCKHART, Sarah LUCAS, Ryan MCGUINLEY, Shirin ESHAT, João ONOFRE, Catherine OPIE, Tony OURSLER, Raymond PETTIBON, Jack PIERSON, Richard PRINCE, Rosemarie TROCKEL, Thomas RUFF, Julião SARMENTO, Collier SCHORR, Thomas SCHÚTTE, Steven SHEARER, Cindy SHERMAN, Dash SNOW, John STEZAKER, Hiroshi SUGIMOTO, Billy SULLIVAN, Kara WALKER, Sue WILLIAMS, Terry WINTERS, YONAMINE"The weeping song"
A série "The weeping song" de Paulo S. Carvalho recebeu o Primeiro Prémio na 8ª edição do prestigiado concurso Foto Cine Color de Andorra.
Edgar Martins - The cosmos rocks by Queen
Esta é a capa do novo disco dos Queen. A imagem é de Edgar Martins. Dirão os amantes de "The Accidental Theorist" que é inconfundível. E é.
Maria
Ontem pela manhã.- Pai... estou monita?
- Filha... tu és uma princesa. O pai pode tirar uma fotografia?
- Xim Pai..
- Filha... tu és uma princesa. O pai pode tirar uma fotografia?
- Xim Pai..
Estirpe
da série "Tauro" de Paulo S. Carvalho - Moita 18 Set 2008Aviso quem me lê que há uma certa possibilidade de eu ser parvo. Sou daqueles tipos que marcha contente e chora nos casamentos.
A mim parece que esta estirpe de homens que acumula sangue na jaqueta e volta de sorriso na cara para enfrentar o touro, é extraordinária.
A mim parece que esta estirpe de homens que acumula sangue na jaqueta e volta de sorriso na cara para enfrentar o touro, é extraordinária.
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