London-based Gonkar Gyatso (b. 1961, Lhasa) creates humorous works informed by both politics and his personal life. “Just as the identity of my homeland cannot be separated from religion and politics, so my own sensibility has been shaped by the undeniable bond between the two.” Gyatso’s practice revolves around the reproduction of Buddhist iconography, calling the Buddha his ‘muse.’ Skillfully incorporating Western and Tibetan cultural themes into his work, Gyatso transforms traditional images of the Buddha into Pop Art-inspired multimedia works that satirize world politics and the mundanity of life. His iconic work titled Pokemon Buddha (2003) marks the first example of what has now become the central theme of his practice; much of his work references the shifts in identity that characterize the life of a migrant.
It was a tough decision to select examples of EDWARD BURTYNSKY`s brilliant series of landscape and industrial photography.
Well, I would like to introduce the ANTHROPOCENE PROJECT that includes a collection of remarkable photographic insights to you…
“[We] come from nature.…There is an importance to [having] a certain reverence for what nature is because we are connected to it… If we destroy nature, we destroy ourselves.” – Edward Burtynsky
THE AESTHETIC OF DESTRUCTION
To talk about “Terraforming” of the Earth by mining, urbanization, indus-trialization, industrialized agriculture, deforestation, etc. that is resulting in a reduction of biodiversity, climate changes, equalized biogeographies etc. is a minimization in my view. Let`s face the truth…it is bare destruction.
EDWARD BURTYNSKY is able to capture moments of heart-breaking beauty even within all this destruction. Sometimes it takes a second till you realize the entire scenario. I think, this smart twist contributes to the feeling of disturbance, his work is leaving.
FINE ARTS TO MAKE THE UNSEEN VISIBLE AND TO RISE AWARENESS
Watching his outstanding landscape photography involuntary leaves you with the impression that our planet is eaten alive — by us.
Deadly injured, covered with open wounds and scars, the Earth still provides us with all resopurces we need to further expand, dominate the creation and grow our population without any rhyme or reason.
Desparation, feeling helpless, and guilty… Let`s begin with changing ourself. I am sure that each one of us knows best where and how he is able to reduce his personal ecological footprint….Right?
BY THE WAY, WHAT IS THE “ANTHROPOCENE”?
Admittedly, I had to look it up….
The Anthropocene is a proposed epoch dating from the commencement of significant human impact on the Earth’s geology and ecosystems, including, but not limited to, anthropogenic climate change. Various different start dates for the Anthropocene have been proposed, ranging from the beginning of the Agricultural Revolution 12,000–15,000 years ago, to as recent as the Trinity test in 1945. The most recent period of the Anthropocene has been referred to by several authors as the Great Acceleration during which the socioeconomic and earth system trends are increasing dramatically, especially after the Second World War. (wikipedia)
ABOUT THE ANTHROPOCENE PROJECT
Another collaboration from Nicholas de Pencier, Edward Burtynsky, and Jennifer Baichwal, The Anthropocene Project is a multimedia exploration of the complex and indelible human signature on the Earth.
Originally conceived as a photographic essay and the third in a trilogy of films including Manufactured Landscapes (2006) and Watermark (2013), the project quickly evolved to include film installations, large-scale Burtynsky High-Resolution Murals enhanced by film extensions, 360° VR short films, and augmented reality installations.
Embracing and developing innovative techniques, the trio embarked on an epic journey around the world (to every continent save Antarctica) to capture the most spectacular evidence of human influence, while taking time to reflect on the deeper meaning of what these profound transformations signify. The result is a collection of experiences that will immerse viewers in the new world of the Anthropocene epoch, delivering a sense of scale, gravity, and impact that both encompasses and moves beyond the scope of conventional screens and prints.
The project includes:
a major travelling museum exhibition at the Art Gallery of Ontario and National Gallery of Canada before it will travel to Manifattura di Arti, Sperimentazione e Tecnologia (MAST) in Bologna in Spring 2019;
a new release of Edward Burtynsky photographs;
a feature documentary film;
immersive interactive experiences in augmented and virtual reality;
IN THE NEWS (09th Jan. 2019): ANTHROPOCENE won $100K Rogers Best Canadian Film Award – Congratulations!
ABOUT EDWARD BURTYNSKY
Edward Burtynsky (born February 22, 1955) is Canadian photographer and artist known for his large format photographs of industrial landscapes. His work is housed in more than 60 museums including the Guggenheim Museum, the National Gallery of Canada, the Reina Sofia Museum in Madrid, the Tate Modern in London, the Bibliothèque Nationale, Paris and others.
Burtynsky received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto’s art community.
Early exposure to the sites and images of the General Motors plant (the workplace of his father) in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes.
Edward Burtynsky won several well-known prices & awards (e.g. Officer of The Order of Canada in 2006) and received several honorary doctorates.
Furthermore, he is an active lecturer on photographic art, who is welcome in various notable galleries, universities and libraries.
His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper’s Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times.
For further details, please feel free to visit his website that contains more galleries of awesome photos, an overview of his publications and EDWARD BURTYNSKY`s event calendar:
I was fascinated from HENRI PRESTES`impressive but also expressive cinematic photography from the very first second, I came across it incidentally.
His photos don`t convey only atmosphere, but invite the viewer to create an entire narrative using his individual imagination. Maybe, this effect is exactly the reason why Henri` s photography is so alarming. It is your very own phantasy based on your personal emotions, assumptions and experiences that will finally create the story, you will see in these mystical scenes.
CAPTURING THE TURNING POINT OF FATE
What did happen and what will happen any moment? This uncertainty and the imposed role as a witness – without having any option to intervene – is disturbing in my view. In his photography, Henri seem to capture the turning point of somebodies fate. The motifs are perfect cliffhangers in my opinion.
Being especially vulnerable, women are supposingly able to dive even deeper into Henri`s haunting scenarios due to their sensitive instincts for dangerous situations.
I guess, all ladies know the feeling “it`s not okay – not really” and the inner alert when e.g. entering an empty parking house with flickering neo lights during night… Well, I think, we should embrace our fears. In any case, they are a helpful early warning system.
ONLY ONE IMAGE TELLS AN ENTIRE THRILLER
However, please enjoy the selection of Henri`s (sur)realistic thrillers below…
ABOUT HENRI PRESTES
Henri Prestes is a photographer and cinematographer from Portugal. His portfolio is full of stunning cinematic pictures are taken in the small, isolated villages in Portugal. Henri takes pictures when the weather is suitable for the kind of mood or atmosphere, usually at night or early morning. His work aims to capture “the melancholy mood of dark eeriness that is often present in isolated places”. Prestes has spent many long nights over the last 2 years creating the work near isolated villages in the most secluded parts of his home country that are often surrounded by dense fog and heavy rain. He only produces the work when the conditions are right as “even the most boring place can look haunting and mysterious with the right weather and light”.
“I seek to create these cinematic moments that are mostly grounded in reality except some detail that doesn’t look quite right, like when you’re having a bad dream, and that hopefully makes the viewer uncomfortable and feeling like something is about to happen.”
This love So violent So fragile So tender So hopeless This love As beautiful as the day And as wretched as the weather When the weather is wretched
This love So real This love So beautiful So happy So joyous And so ridiculous Trembling with fear Like a child in the dark And so sure of itself Like a tranquil man in the quiet of the night This love Which made others afraid Which made them gossip Which drained the colour from their cheeks This love Watched for Because we watched for them Snared, wounded, trampled, finished, denied, forgotten Because we snared, wounded, trampled, finished, denied, forgot it
This love Entire Still so alive Shining This is yours This is mine This love Which is always new And which never changes Real like a plant Quivering like a bird Warm and as alive as the summer We can both Go and come back We can forget And fall asleep And wake up To suffer old age Fall asleep again To dream to death Awake To smile and laugh Young again Our love endures Obstinate as a mule As alive as the desire As cruel as the memory As stupid as the regret As tender as the memory As cold as marble As beautiful as the day As delicate as an infant It watches us Smiling And speaks to us Without saying a word And I I listen to it Trembling And I cry I cry for you I cry for myself And I beg you For yourself For me And for all those who love And who are loved Yes I cry to it For you For me And for all the others I do not know Stay there There where you are There where you were before Stay there Don’t move Don’t go away We who are loved We have forgotten you Do not forget us We had only you on this earth Do not let us grow cold Further and further away every day It doesn’t matter where Give us a sign of life In a nook in the woods In the forest of memory Suddenly arise Take us by the hand And save us
IRIS VAN HERPEN is a well-known, very successful Dutch fashion designer, innovator and artists who combines traditional couture craftsmanship with new technologies (e.g. 3D printing) to create unique organical-shaped fashion. Besides her couture collections (pls. see the Couture post about Iris van Herpen), she is offering a womenswear collections, as introduced above.
In my view, her fashion allows women to show their different facettes – from elf-like fragility (couture) to amazon-like toughness (womenswear) – perfectly. I definetely love her work….also because of the references to Japanese design principles and trends.
IRIS VAN HERPEN ABOUT HER VISION
“If I were to use one word to describe my work, it would be movement as one of the most influential things in my life has been my classical ballet practice. Through dance I learned about the seduction of movement, the transformation of the body and the ‘evolution’ of shape. Those years taught me how to shift shape and were the birth of my interest in fashion.
I Don’t think of fashion as being clothes, or a discipline. I think of it being much more. I see fashion as a dialogue between our inside and our outside. For me fashion is a form of art that is close related to me and my body. I see it as a very personal expression of identity combined with desire, mood and culture.
Looking around me, I consider what I can’t see as much as what I can see, and that transformative focus creates freedom in my work. Each garment and every collection is an embodiment to new understanding and discovery, on conceptual level, on the level of materiality and on the level of femininity. Its my search to new forms of femininity through organic silhouettes, delicate craftsmanship, innovation and the collaboration with other artists, architects and scientists.
There’s beauty in contrast, new terrains are found at the intersection between precision and chaos, art and science, the human touch and the high-tech, the artificial and the organic.”
IRIS VAN HERPEN – Definetely one of my absolute favorite fashion designers, inventors & artists….unfortunately beyond my budget.
Her COUTURE respectively the brilliant pictures of her breath-taking art pieces – taken by MORGAN O`DONOVAN – is pure eye-candy in my view…
ABOUT IRIS VAN HERPEN
IRIS VAN HERPEN is a Dutch fashion designer who is widely recognized as one of fashion’s most talented and forward-thinking creators who continuously pushes the boundaries of fashion design.
Since her first show in 2007 van Herpen has been preoccupied with inventing new forms and methods of sartorial expression by combining the most traditional and the most radical materials and garment construction methods into her unique aesthetic vision.
Van Herpen is often hailed as a pioneer in utilizing 3D printingas a garment construction technique, and as an innovator who is comfortable with using technology as one of the guiding principles in her work because of its sculptural nature and unfamiliar form.
The designer’s intent is to blend the past and the future into a distinct version of the present by fusing technology and traditional Couture craftsmanship.
Her singular vision combined with the complexity of her creations has made van Herpen a fixture on the Paris Haute Couture calendar, where she has shown since January 2011. Additionally, van Herpen’s work has been featured in various notable museum exhibitions.
Because of van Herpen’s interest in multidisciplinary approach to creation that goes beyond fashion, she has often collaborated with various artists such as Jolan van der Wiel and Neri Oxman and architects such as Philip Beesley and Benthem and Crouwel Architects. The designer’s interest in science and technology has led to ongoing conversations with CERN (The European Organization for Nuclear Research) and MIT (Massachusetts Institute of Technology).