Directed by Mustafa Sabbagh Video by Pietro Cremona 1st assistant Tazio Nicoli Aucan - Riot from Ultra Music
Artist: David Rappeneau
Venue: Queer Thoughts, Chicago
Exhibition Title: $$$$$$$$$$$$$$$$$$$$$$$$$$$
Date: August 10 – September 21, 2014
Τhe Arab Guggenheim Museum, is the predominant name by which the Hollow Airport Museum has been widely known, emphasizing on the sociopolitical connections of Cyprus, where the Museum is located, with the Middle East and the nearby Arab countries. HAM, which plays the role of a cultural meeting point of the area, emblematically houses its activities at the abandoned International Airport, in the contested zone – the Green Line – that divides the island in two, as a result of a violent and catastrophic war in 1974, between Greek-Cypriot and Turkish military forces.
Airports, airplanes and the cross Atlantic journeys, have been the symbol of progress and evolution from the end of nineteenth until the first half of the twentieth century; but it was only in Kennedy’s glorious era that the apotheosis of the sky conquest would have reached its peak, stigmatizing every aspect of everyday reality, literature and art, architecture and fashion. Everything real progressive and advanced should have been connected with the space achievements and the human desire to explore the planetary system.
Having Kennedy’s bunker as starting point of reference, the participating artists are called to present different approaches and positions with regard to the motif and functions of a contemporary civil refuge. The artists may draw inspiration from a wide array of archetypical sources, extending from the claustrophobic Platonic cave to the argophilia of the One-Way Mars Colony Project.
Nowadays, on the verge of a new gold war and while the sight of our planet from Mars may seem to be a routine, what is tomorrow‘s perspective? Just what is that makes space getting so critical, so politicized?
Participating Artists: Moataz Nasr (Egypt), Olaf Nicolai (Germany), Robert Wilson (USA), Khaled Hourani (Palestine), Tarohei Nakagawa, Yukihiro Taguchi, Ryosuke Kido, (Japan), Helidon Gjergji (USA- Albania), Mounir Fatmi (France-Marocco), Baptiste Debombourg (France), Txuspo Poyo, Orlando Brito Jinorio (Spain) Adrian Scicluna (Malta), Juraj Dudas, Erik Binder, Svatopluk Mikyta (Slovakia) Democracia (Spain), Driant Zeneli, Artan Shabani (Albania), Dionisis Christofilogiannis, Yioula Chatzigeorgiou, Eva Marathaki, Evangelos Kaimakis, Giorgos Papadatos, Eva Mitala, Efi Spyrou, Artemis Potamianou, Aggelos Skourtis, Nikos Papadopoulos, Stelios Alexakis, Dimitrios Antonitsis, Maro Michalakakos, Nikos Larios, Lito Kattou, Voula Karampatzaki, Pela Kalogirou, Pantelis Chandris (Greece)
Concept and Curating by Nicos Charalambidis
17 May– 14 June 2014
REH TRANSFORMER Kopenhagener str. 17, 10437,
Schönhauser Allee, Berlin, Germany
Ennio Capasa, in London for "Italian Fashion and Cinema", for a unique on-stage interview by Camilla Morton
Fashion and Cinema is a series of events exploring the relationship between fashion and cinema and how the two have always fed into each other, featuring on-stage conversations, seminars and screenings.
The events take place at the Victoria and Albert Museum and at the Ciné Lumière from the 5th to the 13th of April . Italian Fashion & Cinema is part of this program that highlights the Italian beauty.
Ennio Capasa has been invited for an exclusive on stage interview with Camilla Morton on Monday April 7th at Ciné Lumière at 7PM.
Together they will retrace the history of the Maison, the collaborations with cinema and the current projects of the brand.
The on stage interview will be accompanied by screening of images selected specifically for the occasion.
Fashion and Cinema is an initiative by Tristana Media in media partnership with Vanity Fair and in collaboration with the Victoria and Albert Museum and Ciné Lumière.
Photography Boy Kortekaas
The Birds of Paradise exhibition at MoMu in Antwerp, is a tribute to the elegance and refinement of plumes and feathers used in the fashion industry. Thanks to their beauty, fragility, value and agility they had various connotations and were used throughout history for a variety of fashionable wardrobes, both as an accessory and as part of the entire silhouette.
Featuring silhouettes by Alexander McQueen, Ann Demeulemeester, Dries Van Noten, Giambattista Valli, Louis Vuitton, CHANEL, Givenchy, Thierry Mugler, Yves Saint Laurent,…
The British sculptor Kate MccGwire was asked to setup some of her works to engage on a dialogue with the feathered fashion creations.
Thierry Mugler, Métamorphose d'une chrysalide en femme papillon, Haute Couture S/S 1997 and tableau of stuffed birds from the collection of the KBIN, Brussels and ZOO Antwerpen at the #birdsofparadise expo at #momuantwerp
White swan at @birdsofparadise at #momuantwerp. @Alexander McQueen by Sarah Burton, S/S 2011, dress with bodice in goose feathers and skirt in ostrich feathers.
Feathers and feather patterns are very suitable to create a trompe l'oeil effect.
Feathers are part of Ann Demeulemeester's signature and her world. Since her first show in Paris in 1991 feathers have played a major role in her work; standing for freedom, humbleness and poetry..
Detail from a feathered silhouette by Yves Saint Laurent
A modern vintage revolutionary song, an homage to our great glam and progressive rock heroes of the 70's. The hero of “A Childish Dream” feels and dreams that he is being completely manipulated. He feels and dreams that his very existence and life are going against his will, until he decides to dream differently, until he decides to take matters in his own hands Musicwise the song's character originates from the exciting rock musicals of the 70's era. The Who's “Tommy” and A.L.Weber's “Jesus Christ Superstar” contain elements that one can find in “A Childish Dream” . Glam and Progressive acts such as David Bowie, Roxy Music, Queen, Elton John, Marc Bolan and Sweet have also been sources of inspiration for the songwriters. All the above blend harmonically with 21st century independent music movements.
After her participation to dOCUMENTA(13), Chiara Fumai -- winner of the Furla Prize 2013 -- opens her first solo show at A Palazzo Gallery that includes all the directions of her work: collage, photographies, video and performative installations will be on stage in the gallery spaces.
The infinite alter egos that occupy the rooms of the gallery, it is evident, are always the same person: the artist. None of her faces is missing. There is Zalumma Agra, the mute Circassian beauty who performed in silence at the Barnum Circus and who, at dOCUMENTA (13) found again the words of Carla Lonzi and Rivolta Femminile (Female Revolt); the medium Eusapia Palladino, an illiterate maid from Puglia whose sessions were attended by with conviction- amongst others - Cesare Lombroso, the Nobel prizes Marie and Pierre Curie, Tsar Nicholas II of Russia; and again the terrorist guide who explains with symbolic language the hidden messages contained in the paintings of the Venetian Fondazione Querini Stampalia (Furla Prize 2013). There is even space for two men, one of whom is an absolute new entry: the baron Julius Evola, dadaist, occultist, chauvinist and Italian philosopher whose ideology is disrupted in a series of new collages, and the illusionist Harry Houdini, having converted to anarchic socialism after his encounter with the ghost of Rosa Luxemburg which took place at the summer residence of the Fiorucci Art Trust.
The exhibition, “Patterns of Magnificence: Tradition and Reinvention in Greek Women’s Costume”, which will be hosted by the Hellenic Centre (London) in February 2014, will bring thirty two of the most splendid examples to London for the first time. They include the richly embroidered costume from Astypalaia in the Dodecanese, the astonishing assembly of fabrics, colours and jewellery from Stefanoviki in Thessaly and the superbly brocaded dress from Jannina in Epirus.
The exhibition will also illustrate the interplay of native tradition and western aesthetic by displaying the court dress of the first Queen of the independent Greek state, Amalia of Oldenburg and that of her successor at the end of the nineteenth century, Queen Olga, the Russian-born consort of King George I. These splendid costumes represent a synthesis that is emblematic of nineteenth century nation building.
During the period of the exhibition the Hellenic Centre will arrange guided tours and hold lectures on costume, textiles, the reception of the indigenous tradition and the history and culture of Greece after independence.
All but two of the costumes come from the superb collection of the Peloponnesian Folklore Foundation in Nafplio. The other two are being lent by The Benaki Museum of Athens. The curator of the exhibition is the Foundation’s director and renowned expert, Ioanna Papandoniou. The designer is Stamatis Zannos.
A fully illustrated catalogue with 10 essays by specialists in the field alongside catalogue entries and images for each costume will be available. For a full programme of these and all events related to the exhibition please go to www.patternsofmagnificence.org
Exhibition Dates: February 4th – March 2nd Hellenic Centre 16-18 Paddington Street London W1U 5AS www.helleniccentre.org 020 7487 5060
"Retracing myself through time: my aunt Irene who worked as Haute couture seamstress for Chanel during the 30ies and 40ies / a woman that scared me but fascinated me so much, always dressed in black and always wearing some bizarre dark glasses….when I was absorbed in the dark-punk culture I used to realize some dresses for myself (they were really absurd) / I also took care of some simple aspects concerning the clothes in my work as a performer, all the dresses created for my theatrical performances. The first accessories – Area sculptures from which Everything was born.
I can’t forget about Art because I am an artist..what I wanted and want Area to be is not only dresses or accessories, but containers full of artistic substance, sealed by my soul and by all the things that I am. Also for this reason I sometimes chose to return a tribute through my collections to some primary figures such as Pina Bausch or Vanessa Beecroft, Francesca Woodman, etc.., as a manifesto of solemn bond between my soul and art’s soul. My collections carry inside (and outside) the blood, the scars, the cuts of body art school where I recognized big artists as Mothers and Muses. Every collection is a strong stream that comes from the bowels with which I try to overwhelm ad sometimes to cherish –as a diagonal blade on the skin- the persons that comes in contact with it.
And to preserve all this I always fought to remain independent in order to self-produce me, to promote me independently. I hate being conditioned, I need to choose if I want to breathe or not to breathe. The approach to the garment’s construction starts from a sculptural conception / give shape to the substance, accost it to sartorial concepts that I find interesting / deconstruct, revisit, eviscerate. Area is my space, my emotional/perceptive and physical place in which I find art, fashion, music and theatre…the place of those who are able to feel the rest through the dress..
Area becomes also a place of others, of those persons that collaborate with me, the photographers, the illustrators, the artists, the musicians that allow the becoming, the evolving. A family in which I create…in which each one of us creates because we share the same way of feeling."
The 1976 born, Italina Barbara Bologna is a sculptress and body art performer who after graduating from the “Accademia di Belle Arti” in Brera –Milan in the year 2000 has gone on to create her own clothing and accessories line : AREA by Barbara Bologna.
FilepMotwary: Barbara, one can say that you re more of an artist rather than a fashion designer. Where do these two forms of expression cross in your opinion?
BarbaraBologna: I`m an artist not a fashion designer. My creative process doesn`t come from a scheme but by impulses. I think the extension of both things is different, an artist lives his creativity like a physiological impulse searching with this to fight every type of scheme, a fashion designer must follow these schemes to fulfill an idea. I create following just one rule, the impossible.
FM: You worked as a body art performer for four years before you actually practiced fashion. How did you decide to move towards that direction?
BB: Through a segment of my life afterwards, which was the theater, where I began to create costumes, accessories, scene designer and consequently I started in fashion , almost naturally.
BB: The images of the SS14 came partly from visions which I see through 6 months of work inside a collection. In every collection a woman exists who has a type of personality, a place , a color, some music a perfume. I need to encode the emotional world which surrounds the woman I decide to create. And I look for, through the images to make this perceptible to who is observing.
BB: To transmit a message, loud and clear. In every collection there is a theme that is read in a message which I would like to show to the world, to make them reflect, feel emotion make people aware, help, change. I don’t feel as if I am exhausting possibilities. In every season I feel as if I’m starting all over again, as if my life had begun again starting from zero, Full and dense.
FM: One must love something to be devoted to.. Why did you choose fashion to begin with, how?
BB: The dress, the style, I reach the person and I let culture evolve. Likes all forms of art in general, fashion is more personal and it rests on the person like a second skin. I chose fashion because it is the strongest channel to reach the body and soul, The strongest contact and that which lasts longer.
I have always been fascinated by the culture of dress, as it has always underlined cultural and social mutation. With the theater and my previous work in body art I analyzed and studied the body, skin, as objects and movement. The soul as an expression, the transition to fashion has been the natural consequence of this path.
BB: Very varied, as one is when one is pregnant. I have never had children, but I`ve given birth many times.
FM: Who is the Barbara Bologna woman then?
BB: A normal woman who tries to do her best and more, for what she feels to be important.
BB: A fixed rule doesn`t exist. It is never a rational process, it only comes from inside me, certainly contaminated by what my being perceives of the world. The world around us is important. I don`t create for myself but for other people. There is always gratification in the moment that you create even for yourself. But the focus is always the outside , the eye of the world, for me.
BB: I adore Paris, it makes me feel suspended. I present every collection, (men's and women’s) in Paris at the same place, at the same time, that of a woman. The place (Galerie Hors Champs) almost a second home to me, where every season I can express all the work I`m doing at that moment. Just like people who come into contact with me at different times.
This last season Lily Gatins, a person who is very close to me and my feelings, has become the “muse” of my work, her strong personality has been able to add power and concept to what I have created. I try to take within the “moment” of fashion something more humane/artistic, tied to the soul, with performance (theater-music-installation) which I create every season to present my collections. In a different way to fashion business but those which represent me perfectly up to today what I am.
BB: The chance to create clothing nearer to a piece of art, rather than just a t-shirt , the real number of t-shirts produced in the world instead of more artistic clothing. It`s sad to think of a dress which is only useful it would be like thinking our skin is only useful.
FM: Is there an era in fashion that made an impact in the way you think, the way you create?
BB: No, not in fashion, there was in the theater and certainly in music.
FM: What is it that you find most intriguing in a man and in a woman?
BB: The elegance of both.
FM: Future plans?
BB: You can perhaps see it soon, but for now let`s live in the present .