Upon hearing word of the November 13 attacks on #Paris, which killed 127 and wounded about 200 more, people and countries around the world began showing solidarity to Paris using everything from peace signs to popular hashtags.
In honor of the French flag, many famous landmarks around the world were lit up in blue, white, and red. From the US all the way to Sydney, Australia, the colorful photos make a strong statement of support.
In onore delle vittime degli attentati terroristici del 13 novembre 2015 a #Parigi, numerosi monumenti ed edifici simbolo di tutto il mondo si illuminano con i colori della bandiera francese.
Di seguito alcuni scatti dei più rappresentativi
Justo Gallego Martínez has created a 24,000 square foot cathedral that may be Spain’s best known visionary environment. As a youth, Gallego entered a monastery, but when he contracted tuberculosis before taking his vows, he was expelled.
On 12 October 1961 Gallego commenced the building work. There are no formal plans for the building. Gallego Martínez initially just levelled the ground and mapped out the ground-works on site. The building has evolved over time in response to opportunity and inspiration. One inspiration has been St. Peter’s Basilica in the Vatican City, the White House in the US, and various castles and churches in Spain.
The outer dimensions of the main building are 20×50 metres and the total built up area of about 8,000m2. Below the main building there is a crypt and adjacent there is a complex of minor chapels, cloisters, lodgings and a library. The dome of the main building (modelled on St. Peter’s Basilica) is about 40 metres in height, about 12 metres in diameter.
Most of the building materials and tools used for construction are recycled. This includes everyday objects and excess construction materials donated by construction companies and a nearby brick factory. For instance, the columns have been moulded with old petrol drums. The building work has been carried out without any crane.
It is estimated that it may take another 15 to 20 years to complete the building.
Frederic Doazan, Parisian Filmmaker and Experimental animation examines the parameters of Feminine beauty through the short film “Supervenus”. The trend of Feminine beauty mocking fake things to make beautiful while actually hurting natural beauty and in the end the body will be ruined to have all kinds of Deceses. French media have described the short film as “An Intelligent Way” to denounce the “dictates of beauty” that women regularly face in Magazines, Advertising and Media of all kinds.
Olafur Eliasson was born in 1967 in Copenhagen, Denmark of Icelandic parentage. He attended the Royal Academy of Arts in Copenhagen from 1989 to 1995. He has participated in numerous exhibitions worldwide and his work is represented in public and private collections including the Solomon R Guggenheim Museum, New York, The Museum of Contemporary Art, Los Angeles, the Deste Foundation, Athens and Tate. His installations regularly feature elements appropriated from nature. By introducing ‘natural’ phenomena, such as water, mist or light, into an un specifically cultivated setting, be it a city street or an art gallery, the artist encourages the viewer to reflect upon their understanding and perception of the physical world that surrounds them. In The Weather Project representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.
Berndnaut Smilde (b.1978, Groningen, Netherlands) lives and works in Amsterdam. He produces striking images of ‘real’ clouds suspended within empty rooms. Using a fog machine, he carefully adjusts the temperature and humidity to produce clouds just long enough to be photographed.
It usually takes the artist a few days to set up, or “acclimatise” a space, before a photo shoot. There’s a breathtaking second when a cloud hangs together daintily, resembling a floating mixture of white vapor and mist that you might pass near a damp mountaintop, before it begins to break up and look like a stage set again. Though Smilde’s creations are all types of cumulus clouds, the denser ones tend to hang around the longest.
Last year Smilde banned audiences from watching him create his cloud works after receiving an angry letter from a member of the public in Kentucky. “I think she was expecting a spiritual experience,” he says. “A lot of people think a high-tech process is involved. But I work with anything just to create this idea.” His toolbox has been assembled to manipulate levels of smoke, water, wind, convection currents and light.
Smilde is interested in the temporal nature of construction and deconstruction. His works question: inside and outside, temporality, size, the function of materials and architectural elements.
Brandon Boyd is pleased to present his latest artworks at Rossmut Gallery on Thursday, October 30th, in Rome.
As written by curator Loretta Di Tuccio in the critical text that accompanies the exhibition, in the series of works on paper, wich premiere in Italy, the precise line of Boyd proceeds to search for a correlation between the human identity and the elements that surround it. Alternating the abstract and the reality, his figures emerge from labyrinths where the sign, as in a topographic work, outlines hypothetical landscapes drawing a human geography.
In Boyd’s works the origin is the nature, which is the source generating repeatable and pure forms in that ambiguous and infinite theme that is the identity.
During the Preview, Brandon Boyd will sign copies of his latest book ‘So the echo’ presented for the first time in Italy.
Brandon Boyd was born in 1976 in Calabasas, California. In 1991 he began singing and writing song lyrics for what become an internationally recognized rock band, Incubus. The band is currently in the studio with plans to release new music and tour in 2015. In parallel to the music Boyd is interested in art since he was young and has published three books containing works, photographs and texts he has written: “White Fluffy Clouds” 2003, “From the Murks of the Sultry Abyss” 2007, and “So the Echo”, in 2013, when also recorded his second solo album, ‘Sons of the Sea”. His works have been exhibited in numerous solo and group exhibitions and he has also created several partnerships with various brands like TOMS Shoes and Hurley for which he created a mural at their Space Gallery; some parts of the mural have been exposed at Los Angeles County Museum of Art, The Museum of Monterey (CA) and in Cape Town, South Africa. The first exhibition of his works in Europe took place last March in Zurich at Grafik 14, with book signings also in Paris and London.
A piece of the historic Covent Garden market appears to have broken free of its stone base, with its top half levitating in the air, in the latest installation by London designer Alex Chinneck.
Take My Lightning but Don’t Steal My Thunder by Alex Chinneck is a precise replica of a section of the 184-year-old market building in London’s Covent Garden that has been made to look as if its upper portion has broken away from its stone base to float in mid air.
Built from a steel frame and filcor, a type of expanded polystyrene, the 12-metre-long structure took 500 hours to shape using digital carving techniques and was painted to replicate the appearance of the existing building on the site.
A four-tonne counterweight enables the suspension of the top half of the fake building.