LE MILE Magazine issue 18 fashion by Harling-Darsell_web1.jpg
LE MILE Magazine issue 18 fashion by Harling-Darsell_web.jpg
LE MILE Magazine issue 18 fashion by Harling-Darsell_web1.jpg

FASHION


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FASHION


 
 

T H E   C O N T R I B U T O R S
THE ARTISTS OF N°18

Vasily Kandinsky  /  Peter Watkins  /  Julia Grossi  / Harling & Darsell  / Carmen Kemmink  /  Alberto Burri  /  Irving Penn  /  Charlotte Ea  /  Philip Hegger  /  László Moholy-Nagy  /  Jonathan Quipot  /  Mirja Zentgraf  /  Piot Marzec  /  Alban E. Smajli  /  Alex Trochut  /  Timo Kerber  /  Yannick Schuette  /  Emma Matell  /  Marcus Paarmann   /  Dale Grant  /  Nadia von Scotti  /  Johannes Graf  / Nancy Schoenmakers  /  Dunja Antić  /  Suzana Holtgrave

 


Ingo Nahrwold/  Andrea Horn/  Lidewij Merckx/  Tobias Birk Nielsen/  Lea Kargaard/  Ulrike Schlüter/  Dijana Žeravica/  Sarah Danniels/ 
Sara Medali/  Akiko Kondoh/  Alece Rafferty/  Heike Held/ Kenneth Pihl Nissen/  Adrian Fekete/  Hercules Terres/  Jendre Venter/ 
Stefanie Schwaiger/  Suuz Bisschops/  Tamara Svenja/  Konstantinos Gkoumpetis

 

ISSUE N° 18 review// 
alberto burri// 

THE TRAUMA OF PAINTING

ALBERTO BURRI IN HIS STUDIO IN CASE NOVE DI MORRA, CITTA DI CASTELLO, ITALY, 1982 © Aurelio Amendola, Pistoia, Italy, LE MILE Magazine issue 18, Artist

ALBERTO BURRI IN HIS STUDIO
IN CASE NOVE DI MORRA, CITTA DI CASTELLO, ITALY, 1982

© Aurelio Amendola, Pistoia, Italy



Exploring the beauty and complexity of Burri’s
process-based works, the exhibition had positioned the artist as a central rotagonist of post–World War II art and revises traditional narratives of the cultural exchanges between the United States and Europe in the 1950s and ’60s. Burri broke with the gestural, painted surfaces of both American Abstract Expressionism and European Art Informel by manipulating unorthodox pigments and humble, pre-fabricated materials.  

A key figure in the transition from collage to assemblage, Albeto Burri rarely used paint or brush in conventional ways, and instead worked his surfaces with stitching and combustion, among other signal processes. With his torn and mended burlap sacks, “hunch-back” canvases, and melted industrial plastics, the artist often made allusions to skin and wounds, but in a purely abstract idiom. The tactile quality of his work anticipated Post-Minimalist and feminist art of the 1960s, while his red, black, and white “material monochromes” defied notions of purity and reductive form associated with American formalist modernism. 

>> Burri rarelY used paint or brush in conventional ways, and
instead worked his surfaces with stitching and combustion
 <<


...

 

ISSUE N° 18 INTERVIEW// 
ALEX TROCHUT// 

MR. TROCHUT


>> Life chances. 
You are looking for challenges in life and New York is definitely a place that is offering all these excitements that you may be looking for after some years in the same city. So if I were from New York, I would probably want to be in Barcelona
 <<

 

ALEX TROCHUT IN HIS STUDIO IN NEW YORK CITY, NY, U.S.A., 2016 PORTAIR © Alban E. Smajli, LE MILE Magazine issue 18, Interview

ALEX TROCHUT IN HIS STUDIO
IN NEW YORK CITY, NY, U.S.A., 2016
PORTAIR
© Alban E. Smajli, Weimar, Germany

Alex Trochut is an independent graphic designer and illustrator. He currently lives and works in New York City. Born in 1981 in Barcelona, Trochut is the grandson of the well known Spanish typographer and printer Joan Trochut, who developed the typographic system Super-Veloz back in 1942.  After working at different studios in Berlin and Barcelona, Alex Trochut established his own design studio in Barcelona before relocating to the United States. Alex Trochut has developed a perceptive way of creating, employing a vivid visual style that surfaces in comprehensive illustrations and design practices. He focuses on the potential of words as a visual medium, pushing any verbal expressions to the limits so that seeing and reading becomes the same process and word and image become one unified articulation. Trochut manages to demonstrate that typography functions on two hierarchical levels: First, through the image of language and, second, through its reading, translation, or interpretation. His works meander somewhere in between art and design, they combine typography and illustration. His typographic illustrations remind us of actual digital and vital paintings that seek to interpret traditional typography in a very modern and artistic manner.

 

>> Life chances.  You are looking for challenges in life and New York is definitely a place that is offering all these excitements that you may be looking for after some
years in the same city. So if I were from New York, I would probably want to be in Barcelona.
 New York inspires me a lot. Most cities and their cultures inspire me. It is not the physical content, it is the people. They are what really pushes and inspires you, because everybody is following some dreams here; and you just see that many dreams obviously come true and that is really what pushes you to do better <<

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LE MILE Magazine issue 18 fashion by Harling-Darsell_web.jpg

CONTEMPORARY ART


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CONTEMPORARY ART