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 .
FM: So A Man To Pet, how did everything happen?
Dear iDEALS, the "Atlas" project was born by connecting a family sentimental memory of spices and herbs and the mythological story of Atlas. The idea behind this series was to give rebirth to the ancient myth and create naturalistic sensational feelings,under the beautiful light of a Greek island.
Atlas was the primordial Titan, the most powerful and skillful ,who after a fight with Dias was punished forever to hold on his shoulders the celestial sphere. Because he endured this sacred punishment with admirable patience he received the name Atlas which means : endure everything.
For Atlas his adjective is durus, "hard, enduring".
Note: The ΘΑΒΜΑ (THAVMA) collective group (THAnasis, Vangelis, MArilia) consists on the collaboration of three artists interested in photography as well as new media. The idea behind their projects is to express the animal instinct, the morals of freedom and the limits withing human being. They are interested in taboos, metaphysics and they believe in the dynamic of the artists that consist a project and the power of the moment that creates things magical, exactly like a miracle.
As ATLAS, model Simos.
All photos THAVMA ©
“Love is a battle, love is a
war; love is a growing up”
Since the new world began, people feel completely isolated; they think the only place outside heaven where you be perfectly safe from all the dangers and perturbations of love is Hell. Once you love anything, your heart will certainly be wrung and possibly be broken.
If you want to make sure of keeping it intact, you must give your heart to no one, not even to an animal. Wrapping it carefully round with hobbies and little luxuries; avoid all entanglements; lock it up safely in the casket or coffin of your selfishness. Inspired by the abstract artist, Niko Luoma, SS14 collection is mainly focused on showing the complicated feeling between to love oneself or not to love at all. Gun, knife and ghost are three main symbolic elements in developing the print for this collection. These represent the feeling of being hurt and getting pain.
Different shades of blue have also been used for developing the color, which represents the sophisticated mood and emotion deep inside of our A focal interest in the 19th century fine tailoring of the English aristocracy gets combined with the worker clothes as well as zoo suits with a lot of oversize shape represents the protection you need when you are being in love. All silhouettes are showcasing the sharpness of the British tailoring; but at the same time, having a lot of layering reserves the reserved elegances.
Waterproof is the main element on developing the fabric - coated wool, cotton, and polyurethane finished fabrics are widely used in every single piece of this collection. Spring/Summer 2014 collection is all about classical tailoring tradition with a new level of protection elements. Having the typical SixLee characteristics - elegantly tailored silhouettes in rich materials, clothes cannot just protect your physical self but your mental self – Your SOUL.
“We‘re all accepting the love
we think we deserve…”
“Take all my loves, my love, yea, take them all; What hast thou then more than thou hadst before? No love, my love, that thou mayst true love call; All mine was thine before thou hadst this more. Then if for my love thou my love receivest, I cannot blame thee for my love thou usest; But yet be blamed, if thou thyself deceivest By wilful taste of what thyself refusest. I do forgive thy robbery, gentle thief, Although thou steal thee all my poverty; And yet, love knows, it is a greater grief To bear love's wrong than hate's known injury. Lascivious grace, in whom all ill well shows, Kill me with spites; yet we must not be foes.--By William Shakespeare.
Trois profils. Variante de la photographie parue dans l’article "Color and lighting" [Couleur et éclairage], de Photograph Annual 1952©
Dear iDEALS, Parisian Jeu De Paume celebrates the photographic signature, drawings and photomontages of Erwin Blumengfeld.
The exhibition traces his visual creativity and encompasses the early drawings, the collages and montages, which mostly stem from the early 1920s, the beginnings of his portrait art in Holland, the first black and white fashion photographs of the Paris period, the masterful colour photography created in New York and the urban photos taken toward the end of his life.
The retrospective also showcases his drawings, many of which have never been shown before, as well as his early collages and photomontages, shedding fascinating light on the evolution of his photographic oeuvre and revealing the full extent of his creative genius.
The now classic motifs of his experimental black-and-white photographs can be seen alongside his numerous selfportraits and portraits of famous and little-known people, as well as his fashion and advertising work. In the first years of his career, he worked only in black and white, but as soon as it became technically possible he enthusiastically used color. He transferred his experiences with black-and-white photography to color; applying them to the field of fashion, he developed a particularly original repertoire of forms.
The female body became Erwin Blumenfeld’s principal subject. In his initial portrait work, then the nudes he produced while living in Paris and, later on, his fashion photography, he sought to bring out the unknown, hidden nature of his subjects; the object of his quest was not realism, but the mystery of reality.
Erwin Blumenfeld’s life and work impressively document the socio-political context of artistic development between the two World Wars, while highlighting the individual consequences of emigration. The exhibition devoted to Erwin Blumenfeld’s multi-layered œuvre brings together over 300 works and documents from the late 1910s to the 1960s, and encompasses the various media explored by the artist throughout his career: drawings, photographs, montages and collages.
Ute Eskildsen, former deputy director and head of the photographical collections for the Museum Folkwang, Essen.
Exposition produced by the Jeu de Paume, Paris.
In partnership with A Nous, de l’air, LCI and Stylia, Vogue Paris, Time Out, France Inter and Fip.
We would like to thank the Hôtel Castille, Paris.
From 15 October 2013 until 26 January 2014
© Illustration Now! Fashion. 2013, cover illustration by Izziyana Suhaimi
Every dress begins with a drawing, every skirt with a sketch. Illustration is integral to fashion design not only as a means of expression, and the starting point of every design, but also for patterns and prints as well as magazine editorial illustrations. Often, artists will even illustrate the newest looks directly from the catwalks.
© Erin Petson, Versace, Fashion Face-Off Top Trumps. 2012, Sunday Times Style Magazine; mixed media, pencil, acrylic, fabriano paper and digital
It’s high time Taschen celebrated fashion illustration in their Illustration Now! series: here you’ll find new work from 90 artists around the globe, including Ruben Toledo, Aurore de La Morinerie, Bil Donovan, Tanya Ling, and Jean-Philippe Delhomme.
© Fredrik Tjernström, Oscar Jacobson #2. 2012, Art Direction: Magnus Löwenhielm, ink and gouache on colored paper
The book features quotes by experts from the fashion world: Valentino compliments the work of Gladys Perint Palmer; voices out of the studios of Maison Martin Margiela, Christian Dior, Louis Vuitton, and H&M add their praise for the talents in the book.© Alexandra Compain-Tissier, Bill Cunningham. 2011, Les Inrocks magazine, watercolor
I am very happy to see my collaborator Spiros Halaris included in this wonderful publication along with the quote on his works.
© Above, Spiros Halaris' pages. All works under copyrights.
Following an introduction by illustration expert Steven Heller, the historical essay by art and fashion historian Adelheid Rasche provides an in-depth exploration of the subject.
Lovisa Burfitt, Maquillage green. 2008, H&M, wall decoration, ink, feather pen, brush and color pencil
Looking back to the 17th century, she draws a timeline of fashion illustration until today, accompanied by images such as an early etching by François Watteau, a drawing by Paul Iribe for the book of the famous Parisian couturier Paul Poiret, and illustrations by the highly acclaimed masters of modern fashion illustration René Gruau and Antonio Lopez, as well as, from more recent years, François Berthoud.
© Lisa Billvik, Untitled. 2011, Catwalk Studio, pencil
The editor, Julius Wiedemann was born in Brazil, studied graphic design and marketing, and was an art editor for digital and design magazines in Tokyo. His many TASCHEN digital and media titles include Illustration Now!, Advertising Now, Logo Design, and Brand Identity Now!
Dear iDEALS, Lisbon's MUSEU DO DESIGN E DA MODA opened its doors on October 17th for an amazing exhibition, dedicated to the works of Portugese designer, Felipe Oliveira Baptista.
The exhibitiona is based on five themes from resisiting Felipe's classics, his love for technology and nature as well as geometry..
The scenography is designed by Bureau Betak and the visitors will also have the chance to see from up close the designer's approach on men's jackets, his craft and tailoring along with his reinterpretations of little black dresse.
Photography © Fernando Guerra
FELIPE OLIVEIRA BAPTISTA EXHIBITION Oct 17th 2013-Feb 16th 2014 MUDE, Lisbon
OK people, fashion time’s over. It’s Art time. Appetite for contemporary art is always growing. The public, the collectors…everyone wants a piece of the cake. So The Stimuleye is proud to present, for the second year in a row in association with SayWho, the official film of the 40th Paris Contemporary Art Fair a.k.a. FIAC 2013.
WhatTheFIAC, written & directed by Antoine Asseraf. FIAC, Foire Internationale d'Art Contemporain, 2013 trailer, directed by Antoine Asseraf.
For its 40th edition, and in order to accommodate the ever-growing interest in the art scene, the FIAC is expanding and taking different forms throughout Paris. Beyond the glass dome of the Grand Palais and the hundreds of galleries showing there, the FIAC is installing artwork accessible for free to the public in its “Hors-les-murs” (‘outside the walls’) program. Prestigious locations such as the Jardin des Tuileries, Place Vendôme, and Jardin des Plantes are joined this year by the brand new Berges de Seine left bank pedestrian embankments, running from Musée d’Orsay to Quai Branly. YUM.
FIAC 2013. Photo by René Habermacher.
& Hors-les-Murs: Petit Palais / Berges de Seine / Jardin des Tuileries / Auditorium du Louvre / Place Vendôme / Jardin des Tuileries
produced by SayWho
creative direction The Stimuleye
directed by Antoine Asseraf
photography by René Habermacher
art direction by Mathilde Nivet
hands by Aurélie Nguyen
voice by Lynsey Peisinger