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Porsche gives artists opportunity to collaborate with photographer to the stars


Porsche gives artists opportunity to collaborate with photographer to the stars


 

 

Peter Lindbergh photographs Porsche models
*Porsche Talent Project


july 018

The “70 years of Porsche sports car” anniversary made it all possible: Peter Lindbergh, known for his fashion photography and his images of well-known subjects, has done Porsche the honour of making the concept study of the first fully electric Porsche, the Mission E, and the iconic 911 sports car the subjects of a new series of photographs. The location for this very special interpretation of the Porsche anniversary was a beach in Ault, northern France.

“For me, Porsche has always expressed something unique, something personal. And always without any claim to perfection. The result is a unique kind of poetry”,

says Lindbergh.

 

It was not just the subjects that made this shoot such an extraordinary project, for Lindbergh and for Porsche: The photographic series was created as part of the “Porsche Talent Project” that was launched by the sports car manufacturer last year with the aim of giving young artists the opportunity to collaborate with the greats from the field. Skander Khlif, a young artist from Munich, shadowed Lindbergh on the shoot, and had the opportunity to produce his own images under the guidance of the photographer to the stars. Lindbergh enjoys being a mentor, but rarely gets the opportunity.

“We are delighted that we were able to secure Peter Lindbergh for the ‘Porsche Talent Project’. His images offer a unique interpretation of a story, and his methods are completely inspiring. Seeing him work with the young photographer reaffirms our commitment to offering aspiring artists a unique experience that will help them to progress in their careers”,

says Bastian Schramm, Director Marketing Porsche Deutschland.

This is not the first success for the “Porsche Talent Project”, which at the end of 2017 gave talented young people the opportunity to work with Berlin-based designer clothing label “lala Berlin” on the company’s “triangle scarf” and produce their own take on this famous accessory. Working in co-operation with Porsche, networking site Talenthouse selected six finalists from a pool of more than 50,000 artists.

 

*The “Porsche Talent Project” is just the latest chapter in the Stuttgart-based automotive manufacturer’s ongoing history of involvement in culture and the arts. Among the events supported by Porsche are the Leipzig Opera Ball and the Ludwigsburg Festival. Porsche also has long-standing co-operations with internationally renowned institutions such as the Leipzig Gewandhaus Orchestra and the Stuttgart Ballet.

 

https://porsche.com

 

'THE-EDIT'-exhibition-at-HOFA-Gallery,-Mayfair-2018-2-le-mile-magazine.jpg

'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018


'THE EDIT' exhibition at HOFA Gallery, Mayfair in July 2018


 

 

THE EDIT
*HOFA Gallery, Mayfair

july 018

The House of Fine Art is celebrating what has been a fantastic year of expansion. Following the success of their first gallery in London, they have since opened a gallery in the stunning location of Psarou Beach in Mykonos, a third gallery in Mayfair and have now taken their brand to the US, with a gallery in the plush setting of West Hollywood.

  NEMO JATZEN    Comic Relief , 2018 Original photography with resin on wood. 121 x 146 cm, 3cm domes (NJA015)

NEMO JATZEN

Comic Relief, 2018
Original photography with resin on wood.
121 x 146 cm, 3cm domes
(NJA015)

  HOFA already has a huge reputation for showcasing the work of some of the best artists in the world and this growth will ensure that even more art collectors and appreciators will be able to visit the exclusive exhibitions that HOFA are so renowned for.

To mark the opening of the new Mayfair gallery, a summer exhibition titled ‘The Edit’ will be taking place from 4 July – 8 August 018. This second location in London really makes a statement – the newly renovated, charismatic Victorian gallery space is situated at 58 Maddox St crossing with Bond St. It is a very fitting home for some remarkable pieces of art, produced by world-class artists.

‘The Edit’ exhibition will feature some of the most talented artists across the world right now. Headline artists include Romina Ressia, Tian, Robert Standish and Marco Grassi.

Each artist brings their own very unique creativity to the exhibition, which will include a combination of sculptures, paintings + mixed media.

  TIAN YONGHUA    Wave 3  Cast copper and acrylic. 50 x 45 x 55 cm Edition of 8 (TYO031)

TIAN YONGHUA

Wave 3
Cast copper and acrylic.
50 x 45 x 55 cm
Edition of 8
(TYO031)

 
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Read the Interview with Collage Artist and Photographer Anaelle Cathala.


Read the Interview with Collage Artist and Photographer Anaelle Cathala.


 

 

ANAELLE CATHALA 
*Collage Art | Interview*

june 018

Collage art can be traced back as late as the early twentieth century. Stemming from the French word, papiers collés (or découpage), it refers to the process of pasting together paper items onto a surface. Gradually the practice has introduced other materials including three-dimensional pieces and most recently, with the development of photo editing software, digital collage work has created its own place in the world of art. 

 

 ©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

©  All works Anaelle Cathala, LE MILE issue #24 spring-summer issue

  Through the piecing together of various images and materials a new image is formed which embodies its own unique identity. At times the smallest area of an image can be densely packed with new information and dialogue. The result is a work that can be subtle and dynamic all at once.  

Anaelle Cathala is a Paris based artist currently working in collage. Her work explores the built environment both at an architectural and city scale. Anaelle speaks about her work and inspiration via email with Le Mile. 

 



written + interview Michelle Heath

 

Le Mile: You are a self-taught artist, what inspired your path into the Visual Arts?

Anaelle Cathala: I don't really know what or how ...  I love art. I've always wanted to create. I searched through mediums, for the medium that would work for me ... but it was not particularly easy for me to find it. It has been complicated. And I did not allow myself. For me, it was always others who were the artists, not me. I did not go to an art school and I did not feel legitimate enough ... while it is only there, in art, that I feel in the right place. But I stopped trying to intellectualize all that. Just do, dare, work, try.  And the tide is reversed. Nothing precise led me to this but everything has led me there. 


Le Mile: You began as a Visual Artist working with photography before moving into collage work, is there a reason or story behind that transition into collage work? Why image collage work?

Anaelle: I did analogue photography for many years. I love it and I need to do it all the time and everywhere. However, it is "not enough" for me. I do not feel I am purely a "photographer." Since the beginning I have been working to do something else with these images. Project them, paint them ... I try to use them in many different forms and methods of my work. For the moment, this collage collection is my most accomplished and personal work. Working in collage interests me with its notion of infinite possibility. I am really caught up with the idea of ecreating new realities, new spaces, new dimensions. I sometimes even feel like just putting things in their place, putting my finger lightly on the gift of ubiquity, of being everywhere at once.

"Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent."

 

Le mile: Typically collage work is created using found images or objects, why do you choose to use only your own images? Do you find this informs or influences your photography or are the two practices exclusive of each other?

Anaelle: The first collages I made were not just with my photos but with images cut from magazines. However, it wasn’t the right fit for me and I did not find what I wanted. The approach did not suit me. The rendering did not suit me. Then one day, I realized that I had all the necessary material in my hands. You do not always immediately see what is so obvious … All the photos in this first series of collages were made prior to the idea of making ollages with them. So, there was no influence on them when they were taken.  And I will continue to do it that way. At least in a conscious way! I prefer to continue taking photos in an instinctive way, as I always did, and then to create my collage artwork afterwards. 

Le Mile: Your work has themes of architecture and urbanism: what is it about these realms that interest you?

Anaelle: Because these are areas that fascinate me. I have always been fascinated by architecture and urbanism. I live in an urban environment; therefore, I am necessarily fed by it from my confrontation with it every day. This really raw aspect pleases and touches me. Just as much as nature. And I like to confront them. I see obvious connections between all of this. In the sensations that it can provide. 


Le mile: Your collages are both realistic and abstract, what do you wish to communicate or portray with your work? 

Anaelle: I do not really think about what I want to communicate. But I think it's just my relationship to life and things. A precise notion of reality that I question a lot. Personally, almost everything seems unreal. And these collages with these unreal and flawed universes become precisely and extremely coherent. That's what I like. 

 

Le Mile: Are your images from anywhere in particular or from various locations?

Anaelle: My images come from everywhere and from a lot of different moments! Absolutely everything is mixed!

 

Le Mile: Many collage artists past and present have incorporated a three-dimensional, almost sculptural element to their work. Do you foresee yourself taking that path at any point? 

Anaelle: Sometimes I think about this type of work but I don't yet know at all when or how ... It's at the research stage for the moment.

 

Le Mile: You are originally from the south of France but live and work in Paris now. What is it about Paris and its art scene that helped you decide to select that as your home?


Anaelle: I moved to Paris at the age of 21 because I have always loved this city. Because I love big cities. I don't feel right in small towns. I need to be in a big city that is teeming with either nature, space, or emptiness. No half-measures. Ideally, I need it all alternately, for my work and for my mental health! The artistic scene is not directly what made me settle here but it is part of the package. 

 

"I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out.

 

Le Mile: Where do you think your work will take you in 2018, both physically and in the production of your work (themes, content, etc.)?

Anaelle: I will, of course, continue to develop and work in depth on my collages because I have really found myself in this activity. Other series are under way. I also have a series of paintings of my own pictures in progress. I am very attracted by installation, video ... in short, my brain is bubbling with ideas; it will have to work it all out. I think we must attempt to remain free to do what we want. And try. All that we want to. I am now represented by the ALB Anouk le Bourdiec Gallery in Paris and that brings about great upcoming events. Physically, I want to move around and travel anywhere and as soon as possible and, if it is for exposure, it would be fabulous!  

 

www.anaellecathala.com

 
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Whitney Museum NYC presents ANDY WARHOL exhibition From A to B and back again through 2019.


Whitney Museum NYC presents ANDY WARHOL exhibition From A to B and back again through 2019.


 

 

ANDY WARHOL
*From A to B and back again at Whitney 019*

april 018

Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Uniting all aspects, media, and periods of Warhol’s career, this exhibition will provide an historic opportunity to better comprehend the work of the most American of artists.

  Andy Warhol  (1928-1987),  Green Coca-Cola Bottles , 1962. Acrylic, screenprint, and graphite pencil on canvas, 82 3/4 x 57 1/8 in. (210.2 x 145.1 cm). Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 68.25. © 2017 The Andy Warhol Foundation for the visual Arts, Inc./ Artists Rights Society (ARS), N.Y.

Andy Warhol (1928-1987),
Green Coca-Cola Bottles, 1962.
Acrylic, screenprint, and graphite pencil on canvas, 82 3/4 x 57 1/8 in. (210.2 x 145.1 cm).
Whitney Museum of American Art, New York; purchase with funds from the Friends of the Whitney Museum of American Art 68.25.
© 2017 The Andy Warhol Foundation for the visual Arts, Inc./ Artists Rights Society (ARS), N.Y.

  The presentation will illuminate the breadth and depth of the artist’s production: from his beginnings as a commercial illustrator in the 1950s, to his iconic Pop masterpieces of the early 1960s, to the experimental work in film and other mediums from the 1960s and '70s, to his innovative use of readymade abstraction and the painterly sublime in the 1980s. Building on the wealth of new research and materials that have come to light since the artist’s untimely death, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century. 

This is the first comprehensive retrospective of Warhol's work organized by an American institution since 1989, and the largest monographic exhibition to date at the Whitney's new location. The exhibition tours to the San Francisco Museum of Modern Art in Spring 2019, and to the Art Institute of Chicago in Fall 2019. 

 

The exhibition is organized by Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, with Christie Mitchell, curatorial assistant, and Mark Loiacono, curatorial research associate.

 
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MoMA presents exhibition BEING: New Photography 2018


MoMA presents exhibition BEING: New Photography 2018


 

 

BEING: 
*New Photography 2018*

april 018

MoMA features recent works by 17 artists that address ideas of human experience, self-making, and collective identity.

  Paul Mpagi Sepuya  Mirror Study (4R2A0857). 2016. Pigmented inkjet print, 51 × 34′′ (129.5 × 86.4 cm).  The Museum of Modern Art, New York. Fund for the Twenty-First Century.  © 2017 Paul Mpagi Sepuya

Paul Mpagi Sepuya
Mirror Study (4R2A0857). 2016. Pigmented inkjet print, 51 × 34′′ (129.5 × 86.4 cm). 
The Museum of Modern Art, New York. Fund for the Twenty-First Century. 
© 2017 Paul Mpagi Sepuya

  The works included in Being take on contemporary existence and human experience through a range of issues and tactics, including interrogations of traditional modes of portraiture in the history of photography, the use of surrogates or masks as replacements for the body, tensions between privacy and exposure, and the agency of the artist. Some works might be considered straightforward figurative depictions, while others do not include imagery of the human body at all. Since its earliest manifestations, photography has been widely seen as a means by which to capture an exact likeness of a person, and the artists featured in Being mine or upset this rich history in their considerations of the ramifications of photographic representations of personhood in the contemporary moment. In turning toward the personal, some arts evoke feelings of introspection or intimacy, while others investigate social relations of community, and in so doing foreground the subject of humanity or being in the world. 

  Sam Contis  Denim Dress. 2014. Pigmented inkjet print, 34 × 44 1/2′′ (86.4 × 113 cm). Courtesy the artist and Klaus von Nichtssagend Gallery, New York.  © 2017 Sam Contis

Sam Contis
Denim Dress. 2014. Pigmented inkjet print, 34 × 44 1/2′′ (86.4 × 113 cm).
Courtesy the artist and Klaus von Nichtssagend Gallery, New York. 
© 2017 Sam Contis

    The works respond to diverse lived experiences and circumstances. “While personhood is something that we all share, also inherent in these representations is the recognition of difference, which is especially urgent in our current moment when rights of representation are contested for many individuals,” said Gallun. “Universality in humanity does not mean sameness.” 

Being: New Photography 2018 is constituted primarily of works made since 2016, both by artists who are just starting out in their careers, showing in New York for the first time, and by others with more established practices—and who, in some cases, have been supporting the field of photography through teaching or creating other platforms for production. For all the artists, this will be the first exhibition of their work at the Museum.

 
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Blue Magic: Cuba by Alban E. Smajli


Blue Magic: Cuba by Alban E. Smajli


 

 

ALBAN E. SMAJLI
*Blue Magic: Cuba*


april 018

written Mikal Shkreli

We descended onto the island, with some expectations and preconceptions of what we were about to experience. However, what we didn’t realize was the reality of the stories we heard, existing in the multifaceted, aesthetic stimuli that enlivened our senses, that lead us to the same truth; we are now in Cuba. Like a safe place in the fast-changing world, Cuba exists as an island where manmade time stands still and nature takes over the measurements. 

LE-MILE-Magazine-Blue-Magic-Cuba-by-Alban-E.-Smajli---1.jpg

 A rather large island, Cuba is a living memory of a world where humans developed towns and villages in accordance with nature; in the pastel colors and in the ease of shapes in the architecture that reflects the wind’s travels as it carries the scent of the ocean. I found our presence to be humble, honest, sincere, and real. As the birds fly overhead and the ocean waves lap onto the shore, the steady hum of diesel fueled cars and distant music echo in harmony together under the ever-present sun, which watches over this land. 

The ground feels more like the real earth, and the energy is steady yet moving, as the hummingbirds flutter nearby, carrying their hurried energy beyond blooming flowers and past car engines. We walk on the ground, with unsettled dirt from the driving cars on the street.

Of course, the scent of smoked meats and grilled onions passes through the air as well, and again, this harmony of human existence, with its rightful melodic accompaniment in the song of nature, is joyfully played, without effort, without stress, but with the natural highs and lows that we all repeat on earth as the sun soars from one end of our vision’s sight towards the next. 

The view might be iconic, as the type of cars with small subtleties in detail such as the round rear view mirrors distract us from the larger picture. However, this is life, and beyond the stillness in time for the women pushing strollers, the men in jackets walking by governmental buildings, and the men selling fruits on the street, Cuba is home. We take a taxi towards the water, speckled with tiny boats that float by the dock without anyone in them, being governed by an old castle of stone that prominently waves the national flag. Walking back towards the larger roads, we pass small streets with houses dressed with balconies, lined with women drying towels, sheets, clothes, as the sweat accentuates their furrowed foreheads and falls down the crevices of their plump faces. 

In the present moment, the feeling of eternity remains in the ever present ‘now’, and somehow in contrast, every passing hour has a complete different feel than the one prior. Almost a miracle, the sun seems to race from the sky and fall into the ocean, bringing with it, adornments that change color, change scent, change their energy that fills up the air we breathe when we continue to explore Havana. The houses too change their appearance, and their solid structures that stood strong in the sun, are now majestically placed to reflect the light of the moon on their colors, which now only seem to be in hues of blue, in this magic hour of dusk. At night, the heat stops rising from the ground, and the scent of the white mariposa, the butterfly jasmine, along with the cool, ocean air, sweeps through the streets that have become even more quiet. The air brings with it scents of stone, of metal, of a history that took a long time to build, and that happened to stand still like tombstones in a forgotten graveyard. We find a tree with oranges and can smell their sweetness from the outer skin. A baby cries nearby and we are reminded, that in this particular world that took time to build, had stopped its growth in reference to most of the world’s change, but what does take the lead, is nature.


 

credits_
Alban E. Smajli
Cuba, 2013
Courtesy the artist

 
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LEXUS Design Award - Grand Prix Winner 2018


LEXUS Design Award - Grand Prix Winner 2018


 

 

LEXUS Design Award
*CO-*


april 018

Lexus International has announced the Grand Prix winner of the Lexus Design Award 2018―Testing Hypotheticals by Extrapolation Factory―leading this prestigious international event to a pinnacle of excitement. Lexus Design Award 2018 drew a record 1319 entries from 68 countries under the theme of "CO-".  

 
LE-MILE-Magazine-LEXUS-International-Design-Award-Winnter-2018---1.jpg
 

 "This year's winner permeates the current thinking about the role of design in our evolving and technologically shifting societies. Products played less of a role, and design education/teaching and thinking are at the forefront. How citizens and designers interact with products, processes and future is increasingly critical to mediating this influence of design in our increasingly future-orientated and technologically evolving world. The chosen design shows methods and techniques for engaging the public and designers in role playing possible futures and negotiating the influences of our technological world." said David Adjaye, Lexus Design Award 2018 judge and architect.

Elliott P. Montgomery of Extrapolation Factory commented, "It was truly fantastic, and the experience was incredible to have worked with our mentors Formafantasma. We could not have done this without the support of Lexus."

Since 2013, the Lexus Design Award has supported the next generation of designers from around the world. For our sixth year, 2018, the Award's theme is "CO-", a Latin prefix meaning with or together. Lexus believes that great design can ensure the harmonious coexistence of nature and society. In that sense, "CO-" is an approach that allows the brand to explore its true potential and that of the environment by creating new possibilities through collaboration, coordination and connection.

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From among the wealth of "CO-" design submissions, our elite judging committee has selected 12 finalists, four to be prototyped and eight to be shown as display panels. These will be revealed to the international design community at Lexus' "LIMITLESS CO-EXISTENCE" exhibition, held 17-22 April 2018 in the Cavallerizze in Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci during Milan Design Week, the world's supreme design event.

For this exhibit, Lexus has called upon Japanese architect Sota Ichikawa to be the overall concept space designer. In the main installation, Ichikawa has used innovative methods to represent the ultimate experience of LIMITLESS CO-EXISTENCE. The Lexus LF-1 Limitless concept, earlier introduced at the North American International Auto Show, is also featured using Ichikawa's unique method.

 

www.lexusdesignaward.com

 

MORE ARCHIEVE art


MORE ARCHIEVE art