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
Joyce is proud to announce its collaboration with Louis Leeman, through seven exclusive designs.
Interview by Filep Motwary, based on questions by Lucienne Leung-Davies
Portrait by Filep Motwary
Dear iDEALS, for many years now, I have been following the works of world acclaimed photographer Jackie Nickerson and her passion and intense interest in people and their indigenous environments.
Read the following excerpt by Sean O’Toole on Terrain.
" Jackie Nickerson’s third book of photographs, opens with a portrait of a trim man standing against a neutral backdrop refusing our gaze. Before I try to respond to his refusal, which is obvious, challenging, and enigmatic – a detour. It is an established practice in written encounters with photography to begin with specifics, to translate what is visible and describable into words, and by so doing affirm through language what is verifiable and knowable about this world. It is a productive strategy, one that I want to dispense with temporarily in favour of thinking more broadly and contextually about Nickerson’s photographs.
Terrain is a book of portrait and landscape photographs descriptive of the materiality of labour on a variety of Southern and East African farms. The latest instalment in Nickerson’s long-term enquiry into farm labour, Terrain is neither an impartial nor all-encompassing document of working life in sub-Saharan Africa’s largest employment sector, even if the photographs are underpinned by Nickerson’s acute awareness of these environments as politicised spaces. Hers is a less tightly bounded project, one in which the dominant tactics are play, obliquity and quiet refusal. More purposefully, Terrain is a book that roams, geographically, but also imaginatively."
All photographes presented here are by kind permition of Mme Jackie Nickerson ©
The book will be released mid November simultaneously with an exhibiiton at Brancolini Grimaldi in London. The opening is scheduled for November 19th, followed by another exhibition at the Jack Shainman Gallery in January 2014.
For the Maison Boucheron, art is the very essence of both its destiny and its creations: art is its raison d’être. Above all else, the artistic value predominates and guides everything that the Maison does or creates, which it has always been the case since its foundation in 1858.
To mark Boucheron’s presence for 120 years at 26, Place Vendôme, the Maison will be exhibiting exceptional works by Hiroshi Sugimoto. Taken from the Revolution series, these black and white seascapes of imposing size are the product of the artist’s deep meditation on light, water and air.
The remarkable and enigmatic images will be presented to the public at the same time as the new High Jewelry collection “Hôtel de la lumière”, a veritable ode to light: that of the stones themselves, the work of the hands that intensify them and, lastly, the brilliant beauty that shines through them.
This brings the Maison and Hiroshi Sugimoto together in this “Art of Light”, each in their own discipline, making this meeting of aesthetics remarkable.
This initiative forms part of the “Boucheron Artiste et Artisan du Rêve” project, which aims to create a dialogue with the contemporary art scene.
In the same spirit, and in the tradition of its founder Frédéric Boucheron who supported the arts throughout his life, Boucheron has decided to support Hiroshi Sugimoto’s initiative through the production of a new arrangement of the Double suicide à Sonezaki (Sonezaki shinjû) written by the playwright Chikamatsu Monzaemon (1653-1725) including the Pèlerinage à la déesse Kannon scene, ignored for a long time. This Bunraku performance – Japanese puppet theater at its best – is the epitome of a tradition that UNESCO has recognized as the masterpieces of the oral and intangible heritage of humanity.
This is how the Maison wishes to demonstrate its commitment to Japan, a longtime friend sharing the same values of innovation, with age-old respect for savoir-faire, and love of crafts.
This exhibition forms part of a major Hiroshi Sugimoto event in France, during the Autumn Festival at the end of the summer. It is also planned to exhibit a group of photographic and video works entitled Accelerated Buddha at the Fondation Pierre Bergé - Yves Saint Laurent - from October 10th 2013 to January 26th 2014.Bunraku performances at the “Théâtre de la Ville” from October 10th to 19th 2013. From October 15th to 25th 2013 – Exhibition in the Boucheron salons at 26, place Vendôme.
Charles Fréger, portrait Filep Motwary©
1998, Rouen, Charles Fréger takes photographic portraits of sailors from a French naval vessel. Thus, sailors were to be this emerging photographer's first subject. Over the following fifteen years, this military influence would reveal itself as a leitmotif, regularly featuring within the artist's Ïuvre: from Finnish sailors (Merisotakoulu) to the workers and sailors of the Cherbourg arsenal, through Legionnaires, and right up to a tour of Europe and its republican guards which he united within the corpus Empire. In Outremer, Charles Freger continues his exploration of the military, now focusing upon enlisted members of the French Navy.
Légion étrangère, Djibouti, 2011, Charles Fréger
This time the Legionnaires are photographed upon the volcanic lands of Djibouti and are joined by naval officers from Toulon and Noumea. The glare of the sand, the smell of the spray from the harbour, the scorching heat of the desert: beyond these uniforms, is the concept of displacement, of these men and their mindset, and finally the exoticism that the artist wishes to portray. He thus confirms the elaboration of his artistic process which was so evident in his previous major project: Wilder Mann. Herein, Charles Freger surpasses decisively the strict framework of the uniform, which has increasingly asserted itself within his practice as a starting point, a canvas upon which the artist embellishes his own imagery.
Porte-avion Charles de Gaulle, 2012, Charles Fréger
Clothing is a second skin, "skin" because the individual makes it their own, "second" because it clothes another self. Clothing thus becomes a projection of self into a historical, geographical, or cultural elsewhere. The artist has therefore projected himself within this elsewhere, creating his own uniforms (for a republican guard in his project Empire, and even for a character for Chinese theatre, created for a project which took place at the Beijing theatre). Outremer follows in the wake produced by Wilder Mann, as the artist leads his desire beyond the clothes and the community for which it is emblematic, in order to develop it within the sphere of the image and to embrace it entirely. Model, uniform, but also environment, colour, space, are harnessed and orchestrated until they encounter a mental image and give form to the mind's vision. The project started in Toulon, that southern extremity which points towards a fantasised elsewhere, before heading on towards the object of desire, Africa, then Oceania, making a stop, like a counterpoint to these vast horizons, in the closed and incandescent interiors of the aircraft carrier Charles de Gaulle.
Charles Fréger, Marin avec collier de fleurs de tiaré, Toulon, mars 2013
Through this project, the artist addresses the concept of exoticism, in the largest sense of the term, interpreted as alterity, or Diversity. It was Victor Segalen, a naval doctor posted to French Polynesia, writer, and ethnologist, who at the beginning of the twentieth century cast aside all of the clichŽs from this notion, in order to redefine exoticism as the evaluation of the distance between the self and Diversity. Exoticism is not therefore a search for assimilation, but a delectation of difference which is a source of sustenance for desire. It is not by chance that the navy comes and goes as one of the artist's subjects: between these sailors and their Elsewhere, is the sea, a deep blue colour; the same waters amongst which this photographer navigates, pursuing his own white whale with a tenacious desire.
Marine Nationale, Nouvelle Calédonie, 2012, Charles Fréger
Charles Fréger entitled his project Outremer, in a single word, which in
French refers to the colour navy blue; an adjective which, in order to
describe a quality of depth, reflects "beyond the seas", and within this
space Tahitian mermaids dance, like in the artist's video installation,
answering the call of the portraits shown within the exhibition.
text by Raphaëlle Stopin
Open everyday except Tuesdays and bank holidays, from 2pm to 7pm.
Fridays late night opening, only from 4pm to 10pm (closed until 4pm).
For the first time ever, the 6th edition of ASVOFF will visit Antwerp on October 15th and 16th, 2013, after its launch at Centre Pompidou from October 11th until 13th.
Founded in 2008 by the internationally acclaimed fashion critic and video journalist Diane Pernet, A Shaded View on Fashion Film (ASVOFF) is the world's first annual festival dedicated to fashion films. A
SVOFF is not only a competition of short films about fashion, style, beauty but also a traveling international event showcasing feature films, documentaries, conferences, performances and installations. ASVOFF6 ANTWERP is organized in collaboration with MoMu, Fashion Museum province of Antwerp and Antwerp. Powered by Creatives and will take place at AMUZ, situated in and around the 17th century baroque St. Augustine Church, located in the centre of Antwerp. The building combines an impressive historical setting with all the technical features of a modern concert hall.
The programme includes a selection of short movies selected from the ASVOFF6 edition around the theme of DREAM. Highlights in the selection include ao 'Les Stars' directed by the prolific image-maker Serge Lutens, fashion and film icon Daphne Guinness starring in 'Shakki' directed by emerging French director Julien Landais, 'Sister Act' directed by Ellen von Unwerth, etc. Together with the ASVOFF-festival, MoMu will present MOMU3, a series of 3 fashion films in collaboration with Bulo, created by Antwerp photographer and artist Frederik Heyman in which he infuses a selection of historical and contemporary silhouettes from the rich collection of the MoMu with digital life by using 3D scans and manipulations.
AMUZ, Kammenstraat 81, 2000 Antwerp
Tuesday, 15/10, from 7PM until 11PM (invitation only)
Wednesday, 16/10 from 7PM until 11PM (free entrance)
(free festival, but registration is required
More info www.momu.be and www.asvoff.com
“FACELESS part I” showed the appeal that hiding, veiling, or masking the face exerted on art and fashion after 9/11. The second part of the exhibition, opening on September 27 at 19:00 in freiraum quartier21 INTERNATIONAL at the MuseumsQuartier Wien, continues the survey in a more participatory approach. The focus is on interdisciplinary works and lectures, performances, and workshops that convey how we can survive without losing face and at the same time revolt.
“As much as a face and an expression can give away about us, we have plenty of creative potentials at our disposal for making these tale-telling surfaces illegible, even invisible, without running the risk of suffering social death,” says Brigitte Felderer, co-curator with artist Bogomir Doringer of the group exhibition “FACELESS part II.”
“The first part of the exhibition attracted 12,000 visitors. Its success demonstrates how relevant the theme is and how much people are interested in it. ‘FACELESS part II’ resumes the critical exploration of problems of our media culture,” says MuseumsQuartier Director Dr. Christian Strasser.
The works by 45 artists are divided into themes like digital masks, mirrors, icons, and invisible people. As for part one of the show, the exhibition design was created by students from the Department for Stage and Costume Design, Film, and Exhibition Architecture at Mozarteum University in Salzburg. “FACELESS part II” will additionally feature photos on the theme of facelessness contributed by more than 50 artists to the website www.facelessexhibition.com (totally about 2.000 posts). All names of artists will be announced online.
Foto: Adam Harvey, Anti-Drone Burqa 2013 (c) Adam Harvey/ahprojects.com in collaboration with Johanna Bloomfield.
The poignant, poetic sound of William Basinski’s video work “Disintegration Loop 1.1.,” audible throughout the exhibition space, immerses visitors in a melancholic atmosphere. The film by the American composer was shot on the evening of September 11, 2001, and in a single, more than 60-minute take shows the disintegrating Twin Towers enshrouded in wafts of smoke.
Jill Magid’s installation “Article 12/The Spy Project” was produced for the Dutch Secret Service. In this assignment, she portrayed the spies to give the organization a “human face.” Although she always protected their identity, some parts of her work were later censured and confiscated. The central element of her text-based installation is “I Can Burn Your Face,” a neon piece shining so brightly that it is virtually impossible to decipher the confidential information with the naked eye.
Andrew Norman Wilson uncovers the fact that the world’s largest search engine also employs fourth class workers. The film “Workers Leaving the Googleplex” is about so-called ScanOps, low-paid temps who unbeknown to the public scan books for Google’s digital library. The “ScanOps” photos also show how some of the book pages are misscanned and include unwanted elements. British artist Lucy Wood’s installation “Distant Neighbors/Vecinos Distantes Exactitudes” is themed around the invisible migrants who illegally cross the border between the USA and Mexico. Ari Versluis and Ellie Uyttenbroek’s multi-year photography project on identity and uniformity shows how individuals from various social groups resemble each other in terms of attitude and dress code.
American artist Adam Harvey creates wearable privacy in collaboration with fashion designer Johanna Bloomfield. Their “Stealth Wear” features intelligent camouflage clothing and accessories that protect the wearer from surveillance. As its second station after the New Museum in New York, the Privacy Gift Shop is making an exclusive appearance at the exhibition. Items on sale include the anti-drone collection made of metalized textiles that cannot be detected by infrared cameras. Zach Blas, founder of the artist collective Queer Technologies, develops forms of protest involving the distortion of biometric data. His project “Facial Weaponization Suite” reveals how we can evade face recognition, deliver false data, or wear the “face of many.” “As the face becomes a site of ever increasing control and governance, new ethical relations to the face are emerging that embrace defacement and escape, not necessarily mutual recognition but collective transformation that is both anarchic and commonizing. Today, the mask is the most popular implementation of defacement, a celebration of refusal and transformation,” says Zach Blas.
Like Addie Wagenknecht and KATSU, German conceptual artist Aram Bartholl is part of the New York artist collective F.A.T. - Free Art and Technology Lab. In “How to Vacuum Form” he shows how you can make your own Guy Fawkes mask, the accessory of protest. In his videos and performances, Jeremy Bailey skillfully plays a nerd. The Canadian artist is represented in the exhibition and the side program, among other things giving a workshop for teenagers called “Hey You with the Totally Awesome Face” to teach them how to trick webcams and look more popular. Dutch artist Arthur Elsenaar makes the face dance. His research project “Artifacial” makes it possible to digitally control movements of the face muscles with electrical impulses.
In the video “The Punishment” by Ondrej Brody and Kristofer Paetau, children exercise the seemingly natural urge to punish evil with relish – in this case a photograph of George Bush. By melting away, the faces in Ben DeHaan’s digital portraits demonstrate the fragility and short life of digital formats. Japanese hatmaker Maiko Takeda creates masks and headdresses that seem to come from a virtual world. Björk has been wearing them at concerts for several months now. German artist Martin Backes adapts the pixel filter of Google Street View that makes faces unrecognizable and reproduces it on the fabric of his Pixelhead masks. On the search for the right/perfect face through plastic surgery, artist and filmmaker Martin C de Waal tests the boundaries of his personality. “Narciss,” Mirko Lazović’s sculpture made of mirrors, makes it impossible to see your own reflection. Bryan Lewis Saunders is an American artist with many faces. For many years, he has been drawing a self-portraits every day. “FACELESS part II” shows his 48-part series “Under the Influence,” created under the influence of a daily changing assortment of drugs and substances.
Foto: Ondrej Brody & Kristofer Paetau, The Punishment 2005 (c) Ondrej Brody & Kristofer Paetau
Artists: Martin Backes (GER), Jeremy Bailey (CAN), Jonathan Barnbrook (GBR) for David Bowie, Aram Bartholl (GER), William Basinski (USA), Zach Blas (USA), Heiko Bressnik (AUT), Ondrej Brody (CZE) & Kristofer Paetau (FIN), Mark Brown (NED/GRB), Cracked Labs (AUT), Ben DeHaan (USA), Sofie Groot Dengerink (NED), DENNATON (Jonatan Söderström & Dennis Wedin) (SWE), Arthur Elsenaar (NED), Hrafnhildur Gissurardottir (ISL), Adam Harvey (USA), Jakob Lena Knebl (AUT) & Thomas Hörl (AUT), KATSU (USA), Miodrag Krkobabić (SRB), Matthieu Laurette (FRA), Mirko Lazović (SRB/NED), Theo-Mass Lexileictous (CYP), Vanessa Lodigiani (MEX), Jill Magid (USA), Alberto de Michele (ITA), Jelena Misković (SRB), Bob Miloshević (SRB), Andrew Newman (AUS/GER), Bernd Oppl (AUT), Marco Pezzotta (ITA), RAF SIMONS, Tarron Ruiz-Avila (AUS), Bryan Lewis Saunders (USA), Tim Silver (AUS), Maiko Takeda (JAP), Ari Versluis (NED) & Ellie Uyttenbroek (NED), Daniel Vom Keller (SUI/NED), Martin C de Waal (NED), Anne Wenzel (NED), Lucy Wood (GRB), Andrew Norman Wilson (USA), and Marcus Zobl (USA/AUT).
“FACELESS part II” has been has been organized in cooperation with the Federal Ministry for European and International Affairs, Artistic Technology Research (University of Applied Arts Vienna), and Mozarteum University in Salzburg with the support of partners and sponsors from Austria and abroad. A side program will feature a symposium as well as guided tours, performances, lectures, and workshops, including during the VIENNAFAIR and VIENNA ART WEEK.
FACELESS part II
Length: Sep 28 to Nov 24, Tue to Sun, 13:00-19:00, free admission
Press preview: Fri, Sep 27, 10:00
Opening: Fri, Sep 27, 19:00 Location: freiraum quartier21 INTERNATIONAL/MuseumsQuartier Wien
Director of the MuseumsQuartier: Dr. Christian Strasser
"The video was shot last month on location in Tirol and Südtirol and features a selection of some of the most interesting up and coming designers of the past year including Satu Maaranen the winner of Hyeres Damien Ravn a Hyeres finalist Sadie Williams of CSM Nora Renaud and many others."
Directed by - Andreas Waldschuetz & Adia Trischler
The full film will soon to be released on Vogue.it