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VIU x le mile studios exhibit during Berlin Art Week 2018 a 360 motion show.


VIU x le mile studios exhibit during Berlin Art Week 2018 a 360 motion show.


 

360° @berlinart018
*VIU x le mile studios
 

september 2018 

Different faces and different glass shapes - an appraisal to diversity. 

By presenting different collections, le mile studios supports the fact that VIU eyewear can make every woman & man happy and offers unmistakably perfect shapes for every type and every face by producing single motion clips of the dimension, illusion and fusion of each collection. VIU eyewear x le mile studios will display the motion clips in their Berlin flagshipstore, during Berlin Art 018.

Different dimension.
Different illusion.
Different fusion.

Since their 2013 launch in Zurich, VIU eyewear has been a creative force in its industry. All designed in Switzerland and made in a host of countries, from Japan (titanium collection) to Italy (acetate + metal collections), the frames are qualitatively, interesting and surprisingly affordable. VIU customers are not only conscious of design but also sustainability and creative collaborations.


Come by + say hi

VIU x lemilestudios
an apprasial to diversity
360°


where? Potsdamer Straße 77-79
when? Thursday, September 27 // 18.00-21.00 pm.

 

https://shopviu.com/

 
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New York City: Two strangers. One Pill. A haunting body of work.


New York City: Two strangers. One Pill. A haunting body of work.


 

 

A LITTLE BLUE PILL/TWO MEN
*Two Strangers. One Pill. A haunting body of work.


september 018


written MALCOLM THOMAS

There is nothing quite as powerful as the art of collaboration. Unless perhaps, it’s prescription drugs. Meet Roxy. Full name: Roxicodone. The little blue pill that you’ll never take home to mother. The opiate of choice for an adolescent prep school kid in Houston, who once moonlighted as a YouTube influencer and stylist for celebrity rappers. Preston Douglas has since gone on to become a menswear designer, outfitting the likes of Travis Scott and debuting a collection at New York Fashion Week. 

 Torn Apart, 48” x 72”, $1,400

Torn Apart, 48” x 72”, $1,400

  Ten years his senior, Tyler Swanner, a multimedia artist, was going through his own struggle. His diagnosis of advanced glaucoma, a degenerative eye disease that can ultimately lead to blindness, had Swanner thinking about his own habits and vices. Prescribed drugs, rituals, medicines and his partaking in illegal substances all became fair game. The result— a body of unedited work that is both personal and eerily relevant. In 2016, 2.4 million Americans were reported to have an opioid use disorder. A large majority of abusers ranging from 12 to 17 years of age and some even as young as 1 year old, according to the American Academy of Pediatrics.

“Tyler and I met just two months ago, and I knew from the moment we started talking that we would be friends. It was like talking to my future self,” said Douglas. “He just moved back from Los Angeles, and I had just gotten back from staying in New York for a while, so I invited him over to my studio to see what I had been working on. We ended up talking for almost three hours,” he continued. 

Douglas’ A Love Letter to Roxy series, a collection of gestural abstractions, low-life motifs and internet-derived collages seemed to hit the perfect note to Swanner’s series. A drug that had once lead a young Douglas to steal a Lamborghini with his drug dealer and to finding vicarious satisfaction in watching National Geographic’s Hillbilly Heroin documentary in withdrawal. But in his artist statement he emphasizes, “Despite the title, this body of work does not aim to romanticize this part of Preston’s life. Rather it serves as a daily reminder to himself of the pain that comes from loving that little blue pill, and as a mechanism of gratitude for escaping her crushing grip. One day at a time.” 


A Little Pill
artwork available for sale, for inquiries e-mail: info@prestondouglas.us
film Chris McElroy 
music NNOA
© copyright + courtesy Tyler Swanner + Preston Douglas

 
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Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency


Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency


 

 

JOHN YUYI
*Social Currency | Interview


august 018

No one does social convention quite like John Yuyi. The Taiwanese-born, New York-based artist is known for her custom temporary tattoos of social currency: a ‘like,’ a ‘retweet,’ a ‘match,’ a ‘follow,’ a ‘read’ receipt, the unnerving ellipses that appear just as fast as they disappear, etc. Instead of being confined to a screen, they are displayed on parts of the body for the world to see. 

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  Her rendering of other status symbols, including Gucci’s green-red stripes, the LV monogram, the Nike swish, and two very famous interlocking “C’s,” has introduced us to a new type of logomania. Inspired by her own life, family, friends, strangers, and social media,

Yuyi is proving that sometimes connectedness is only a ‘follow’ away.


written + interview Hannah Rose Prendergast

 

Le Mile: Would you like people to view your work as more of a reflection on youth culture or a commentary?
John Yuyi
: I don't think about that too much. I think when I create my work, I don't anticipate what people will see. I recently kind of found out that my work is like my dairy, so maybe I give people the vibe of youth culture. I don't really mind how they define the works.

 

Le Mile: Do you have an affinity for all these luxury brands, logos, and social media or an aversion?
John Yuyi: I think both because I'm a really contradictory person; I'm positive, but I'm depressed. I'm sensitive, but I'm super chill about somethings people can't be chill about. I love social media, I see the positive and beneficial side of it, but I also feel kidnapped by it. Sometimes I just want to delete every account. So I think all the brands, logos, and social media things for me, of course, I love it, I love those things people love, but at the same time I’m thinking about the contrasting side to this stuff. Sometimes it makes me feel excitement, sometimes it make me feel emptiness. I guess I am always like that. I always feel really bipolar: at either two extremes.



Le mile: As a fashion design graduate, what was it like being commissioned by Gucci for Le Marche Des Merveilles collection last year?
John Yuyi: It's the craziest thing; I never thought it would happen in my life. As a fashion design graduate in Taiwan, I thought the only relationship you could have with Gucci was to buy a product in store or maybe work with one during a magazine editorial shoot. But I never thought that I could work as the individual, John Yuyi, with [Gucci] HQ. The project is global, it's really insane. Some people say I am so easy to buy, I'm capitalism, but I'm fashion design majored, so tell me the reason why I'd say no to this dream project. 


Le Mile: Your resume also includes graphic design, photography, styling, and modelling. Do you ever feel pressure to pick one? Or do you see your work as more of a collective effort?

John Yuyi: I think nowadays, people all require multiple skills or multiple identities. Yes, I feel pressure to pick one because I'm not a professional full time model, I'm not a professional full time stylist, graphic designer, etc. But I got different jobs doing different things, so I used to call myself a freelancer since I didn't know how to introduce myself. When I create my work, I’m doing a lot of different things, so I guess everything is involved a little bit. 


Le mile: Do you think art and fashion can be the same thing?
John Yuyi
: I think art includes a lot of things, and fashion is art. It's definitely art!

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Le Mile: You’ve referenced Hokusai Katsushika in your 2016 works: “Megumu's browser” and “Ukiyo-e.” Is he someone that inspires you?
 John Yuyi: Yes! He is amazing and timeless. I definitely got inspired by his work. One of my favourite dresses has his art on it. But he’s not the only artist that has inspired my life theory.


Le Mile: Do you believe that sex sells and is it something that you agree with? Talk a little bit about your “Skin on Skin” project (2016), was your intention to portray the oversexualization of women?
 John Yuyi: No, I just wanted to play with a fake "skin on skin" cycle. But a lot of people told me that they think it's a reflection of the objectification of a woman’s body. I like that people have an unlimited imagination when it comes to what it means; it's the most interesting part for me. When I was at my solo show opening, one boy came up to me and told me his thoughts on "Julia's Twitter." He told me that her tongue, stuck out with a “Following” tattoo, indicated that she would do anything for a ‘follow.’ I was so surprised! I am so in love with people telling me how they see my work!
 

Le Mile: You’ve mentioned in the past that your work helped you cope with anxiety and depression. Is this something you still struggle with today?
 John Yuyi: Yes, I still do. Sometimes I feel better, but sometimes I feel that I’m getting worse.
I work because I feel anxious, and when I work too much I feel stressed. When I finally can take a rest, I feel guilty for not working hard. It’s kind of become a bad cycle for me.
 


Le Mile: What was it like doing the latest campaign for Nike Air Max with Lauren Tsai?
  John Yuyi: It's a celebration of Nike Air Max. Hypebeast found a few artists to do the artwork. I'm glad I was chosen as one of the artists, but Lauren and I worked on the project individually, so I didn’t get a chance to work directly with her. But she's so pretty and talented all in one. I'd like to work with more talented Asian women in different fields in the future!


Le Mile: How has your work evolved since you started in 2015?
 John Yuyi: I don't know, I just keep feeling like it's all about luck. I keep walking this journey, but unpredictable things keep happening to me. I feel flattered and I feel small at the same time. I need to push myself to move faster than what I've got.


Le Mile: Who did you last follow on Instagram?

I think it's @mylesloftin. I'm not sure, but the latest one that I remember is him! He’s the photographer that shot me during the Gucci Wooster opening in New York.

works_ © + The Artist: John Yuyi
© + Courtesy  Artist

 
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Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.


Read the Interview with Artist Phannapast Taychamaythakool
 and her work for GUCCI.


 

 

PHANNAPAST TAYCHAMAYTHAKOOL
*fashion illustrator | Interview*

august 018

Conversing with fashion illustrator and Instagram famed artist Phannapast blossoms into a larger dialogue about the relationship between fashion and art. A portfolio of multiple collaborations with Gucci, a creative studio and an DIY -approachable point of view establishes this mixed media artist as a progressive creative with a soft heart for romanticizing the details of human experience through illustration.

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  Click through her social media posts, @phannapast and discover a fairytale filled with magical creatures; her illustrations, embroidered patches and beadwork dictates storytelling while inspiring a journey into definitions of human expression from art. 

For if art is a creative form of communication, fashion is the art of socially acceptable expression through clothing design and the manipulation of fabrics into a found culturally interested product.

With sensitivity this comparison stimulates a discussion about the purpose of fashion. In our conversation, the greater debate that defines fashion as art passes without obstruction; for fashion is a tool in Phannapast’s work that elevates communication.

 



written + interview Valerie McPhail

 

Le Mile: How would you describe your art? Do you have an artist’s vision?
Phannapast
: My art is another form of communication. It tells stories about my experiences or my view towards my surroundings. Sometimes, when I look back on it, it is like a personal diary. The art tells a lot about what kind of music I was listening to at the time, the book I am reading, or the people I have met. 


Le Mile: What are your thoughts and opinions on the relationship between fashion and art?
Phannapast
: Personally, I believe that art stays everywhere, including fashion. Fashion is the story of the art which appears on the body — in movements, and dimensions. Fashion speaks a lot about the mood, the perspective and the personality of a subject; therefore it is also a personal communication. Designing clothes requires a lot of creativity and imagination. There are different types of knowledge in fashion like fabric design — the choice of colors you use, silhouette design, the structure and the pattern of clothing. Combined with inspiration in the right amount this is when fashion and art meet. 

 

Draping maxi dresses on butterflies, suiting a young buck in a pastel, floral printed Gucci two piece: animals play dress-up in her work for the GucciGramTian. The animal motifs continue to tell the story behind the creation of Gucci jewelry at the Wonder Factory.

With intergalactic cats and an elegant elephant spraying rainbows from her trunk, Phannapast’s  drawings capture the imagination and eccentric personality of the Italian house. 

 

Le mile: I would like to talk about your experience working with Gucci: how did the work and collaboration with Gucci manifest? 
Phannapast
: Alessandro Michele discovered my work on Instagram in 2016. Shortly after I collaborated with Gucci on 3 projects: GucciGramTian, The Fairy tale book for Le Marché des Merveilles Jewelry Collection, and, recently, Bloom Acqua di Fiori perfume. They are very important experiences I am very happy and proud of. 

Le Mile: What is meaning behind the animal motifs in the work?
Phannapast
: I use the animals to represent my feelings. Whether it is a tiger, a bird, a crocodile: they represent a part of myself. Sometimes I draw them with a mole below the lip because I have the same mole. 


Le mile: Can you explain the story of your illustrations in this work?
Phannapast
: In every Gucci project, there is always a story of myself. It is the experiences or how I think at that moment or something that I have been through: self-acceptance and how we can see the value of ourselves and the relationships with people around you. In every picture, there is a personal symbol hidden, the character's act and how it expresses itself. There is also a physical and visual expression. I use both to convey my message through expression.

 

Le Mile: Have you always created work in fashion and fashion illustration?
 Phannapast: I always like to add a little fashion into my drawings. You can see the animal characters wear different clothing, sometimes, the flowery pattern has a little gimmick hidden in it, and sometimes I use the different palette of colors that is more special than the natural tone.

Fashion illustration is just a portion of her work. The artist showcases the larger part of her work in her workshop titled Pommecopine Studios, which shares her whole heart and vision as an artist. Embroidered sparrows nesting on button downs, collectable patches of fawns, cheeky babies and cats pay ode to a home base, her childhood. These expressions are patchwork pieces that will lead Phannapast to making her artistic dreams a reality.


Le Mile: And you have a studio, Pommecopine Studio, which showcases your solo fashion and artwork. What is the heart and soul of this project? Can you explain the meaning behind the name?
Phannapast: Pommecopine is a nickname my friend gave me when I was studying branding at the university. It came from my personal hairstyle, which looks like an apple. Pommecopine first became my brand of clothing for dolls and figures. Now, my intention is to create Pommecopine as a brand that represents what I loved during my childhood. I still like dolls, patchwork, embroidery, or handmade knickknacks. That’s why I also organize workshops for people who are interested. Now, I have a mascot for the brand named Rainbow Sue, which I named after my mother. She represents happy days.
 

Le Mile: The platform extends beyond illustration into embroidery, beading and patchwork, what inspires you to create new forms of art?
Phannapast: Embroidery and patchwork are my hobbies. I’m thinking of combining them to my art. At the moment, I’m interested in creating a soft sculpture from fabrics. 

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Le Mile: Can you elaborate on the type of work we should anticipate next?
 Phannapast: Right now, I want to bring out my world into a form of work that in tactile, something that you can interact and share experience with. It is my dream for the future which I will take time developing.

Through her whimsical works Phannapast tells tales from her life experiences and shares with us her art, collaborations and  passion projects — they share her visions, aspirations and dreams — unveiling the soul of an artist.

 

portraits_ © + The Artist
Artworks (illustrations)_ © + Courtesy Gucci

 
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Eckhaus Latta operates at the intersection of fashion and contemporary art.


Eckhaus Latta operates at the intersection of fashion and contemporary art.


 

 

ECKHAUS LATTA:
*Possessed at Whitney Museum

august 018

Eckhaus Latta: Possessed highlights the work of Eckhaus Latta, a compelling young design team who belongs to a new generation of designers operating at the intersection of fashion and contemporary art.

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  The New York- and Los Angeles-based fashion label was founded in 2011 by Mike Eckhaus (b. 1987) and Zoe Latta (b. 1987), who met as students at the Rhode Island School of Design. They are known for using unexpected materials, emphasizing texture and tactility in their designs, and for incorporating writing, performance, and video into their practice. Through collaborations with artists, musicians, and others, and an approach that plays both with and against industry conventions, Eckhaus Latta addresses the crosscurrents of desire, social relations, and consumption. 

For their first solo museum exhibition, Eckhaus Latta will present a new three-part installation that embraces and brings into conversation various aspects of the fashion industry, from advertising and the consumer experience to voyeurism.

 

The installation begins with a sequence of photographs that play on the tropes of iconic fashion photospreads, exploring how Eckhaus Latta’s unique aesthetic functions in relation to the highly polished look of the industry’s media. The core of Possessed is an operational retail environment in which visitors may touch, try on, and purchase clothing and accessories designed specifically for the show. Elements of the space—such as clothing racks, display shelves, and a dressing room—were created by more than a dozen artists with whom Eckhaus Latta has been in dialogue. The exhibition concludes with a darkened room, evocative of a security office, which features a bank of screens depicting surveillance footage. Visitors will have a voyeuristic view of the rest of the installation, as well as a glimpse into the tracking and surveillance that often accompanies the experience of shopping.

 

Eckhaus Latta: Possessed is organized by Christopher Y. Lew, Nancy and Fred Poses Associate Curator, and Lauri London Freedman, head of product development. On display: Aug 3–Oct 8, 2018 at Whitney Museum, NYC.

exhibition images: Akiko Kondoh, LE MILE Studios

 

https://whitney.org

 
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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

 

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'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.

 

MORE ARCHIEVE art


MORE ARCHIEVE art