Mustafa Sabbagh: XI comandamento: non dimenticare, ZAC ai cantieri culturali alla zisa, Palermo _ from 21.05 to 17.07.2016

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I met Mustafa Sabbagh few months ago in Milan, we shared reflections
about the idea of travel , for him “a dialectic way to pass through our thoughts , a permanent change from one state to another, a searching of identity .”
Talk with him usually is an opportunity to broaden my horizon about art, looking away, embracing a vision defined according to the parameters of the artist’s and less according to the views of the art world on him.
I see in the art of Mustafa a sense of freedom, a way to be enchanted and indulge in the world.
Experiencing the body as landscape requires a strong sensitivity.
His work is a poetic passage, a mirror that elevates the ephemeral visible of bodies and objects into a permanent radical beauty.
Journeying through Mustafa photos it means pass through his gaze upon the world, through his seductive carnal black bodies , through a dramatic direction that intesifies pathos and pietas .
His intrusive and outrageous black , pervades and simultaneously removes barriers, petrifies the bodies , calling upon their surprising and astonishing aspects inside a spectacular setting.
An ethical monument to the beauty, a theatrical play, a dramatic transportation, make each work a scenario, a microcosm that encompasses a wider world, most disturbing of what we’re looking at.

If is possible or not to penetrate Sabbagh’s works , his photos , his installations and his videos create a short circuit of our conscience , a deep powerful attraction, an invitation to recognize themselves, to be reflected.

The extraordinary value of Mustafa ‘s opera is due to the way he reveals the body, digging incessantly into he interiority,  demystifying   the superficial appearance.

 On May 21  2016 in the monumental spaces of industrial archeology area  ZAC to the Cultural Shipyards alla Zisa in Palermo,  will open his first retrospective.

According to the artist’s idea, who also curated the exhibition, ZAC will be designed as a container of contemporary schizophrenia, a large closet living of his disorder and psychosis of its owner; a metaphor of disoriented humanity , schizophrenic on the concealment of his fears, which are here cataloged by Sabbagh. A humanity forgotten by his own humanity, the urgency of integration – individual and social – from Palermo, where Mustafa Sabbagh requires a social duty as a secular commandment: Do not forget.

Do not forget to Honor Black, a  photographic series that made him famous throughout the world,  a personal reflection and social challenge from  the individual dark side, that subverts the conventions through the multidimensionality of one # 000, and draws reinterpreting the history of art.

Do not forget Candido, an inedit  project, laical absolution granted by those who know how to share the blame through pure  eyes – and bloody hands – of a child, as in Das Unheimliche,  from Freudian memory, where is covered in blood the adult expectation respect to CD “different”.

Do not forget in the Chat Room, a love letter / symphony of pain from a poor Christ and a poor devil, and in Dark Room, rediscovery of innocence through a voyeuristic act.
Do not forget anthro_pop_gonia,an inedit  video installation ,  focused on the the  Ariadne’s thread , from the story of Greek mythology to the history of the contemporary vice.
Do not forget to Made in Italy © – Handle with care, cynical slap whispered questions, do not shout – as they should be the afoot of revolution. What is really a foreign body in an society  infected by slowness? Useless to try to forget him, in front of the seriality of a crime perpetrated by man to man, in the Black Sea installation – specially created  by the artist for Palermo – 09.2015: 3944.

“A schizophrenic does not forget; a schizophrenic accumulates “Sabbagh writes,” as in a multiple personality disorder, as in a mad zapping “.

 All photos courtsey of Mustafa Sabbagh, thanks to the press office Fabiana Triolo

Stefania Seoni

The fashion exegesis translated into art Comme des Garçons fall 2014 , all photos by Fabrizzio Morales Angulo

 

 

 

Cryptic, unfriendly, out of the choir.
Rei Kawakubo is the fashion exegesis translated into art.

We like to publish these photos serie  of the fall winter 2014 Comme des Garcons collection by Fabrizzio Morales Angulo , revealing again the emotional abstraction in Kawakubo creative process.

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SCARPA by PRIM

 SCARPA is the new collection by PRIM, designed by Michelle Elie

” I wanted to call it “SCARPA“, a long overdue personal homage to his inspiring oeuvre.

Sometimes inspiration you get from “things” that are overlooked for many years.
I experienced this with Carlo Scarpa, the Italian architect who lived in Venice and was buried in his most recognisable architectural work “The Brion Family Cemetery”. Somehow once in a while we rediscover an image, a sound, a quote, a face or an element to fuel an inspiring starting point of an entire collection.

The two circular windows of Scarpa ́s may be most iconic work is very present at the collection, e.g. the golden square shaped cuff with the triangle peak reflects his genius geometric play or “Veneto“, a wooden bag with it ́s hand carved wood side window resembles the facade of his renovated Foundation of Quierini Stampalia in Venice. The Scarpian details eludes in another handcrafted bag called “ATURO” which embraces glass on it ́s side to attract light and harmonise the crafted wooden frame of the bags.”

The collection is enterly produced in Spain with local artisans.

“It was a “Coup de Fou” traveling for the first time to Granada in search of inspiration and craftsmanship.
It was a natural bond with artist Juan Diaz Losada and Alberto Quiros the goldsmith I met on this journey who have their workshops in Granada, where they work precisely and contemplate on religious attire. Or Cecilo Reyes who carves cherry wood bags and selects in addition the most beautiful veins – a master for specialised wood carving canopies for “Virgenes & Christos” religious statues in Spain.

Michelle Elie

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CocoRosie – HEARTACHE CITY (2015) , text by Thomas Costantin

The new album of Bianca and Sierra Casady, better known as CocoRosie, smells as a playful back to the roots , leaving  or better  suspending for a moment the electronic ,and the 360 degrees research and experimentation that had characterized the previous two albums, Grey Oceans (2010 ) and Tales of a Grass Window (2013). And so that , the two American sisters, by now active in the alternative music scene for over a decade, instead resume the poetry  of their early work. Heartache City, the new album released on September 18 brings out  from the dusty drawers their toy instruments, ranging to merge with less hysterical vocals , more mild and calm, that sometimes almost give birth to a kind of “alternative blues”. The album registered in their study in France, but completed  in Buenos Aires, reveals their research on the minimal sound , experiment that seems to be   achieved , the piano is  back  acting  as  ruler  in the songs, in which chimes and voices blend, now with a guitar, now  with a trumpet. Undoubtedly Buenos Aires has influenced the arrangements, if we think for instance to  “Un Beso”, but the biggest influence on the album is certainly  the desire to investigate on the  most essential and pure rock, as we can strongly perceive  by listening  to “Big and Black.” The impression is that this latest experiment of the duo, although lighter, sometimes romantic, is undoubtedly successful,  recommended as morning listening ,  or even as a lullaby. From the sweet “Forget Me Not” that opens the album, to the last and most dramatic “No One Knows”, which closes it, just under 45 minutes of an  interior and exterior trip, referred to it is certainly a pity  to deprive yourself.

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Namerikawa: the beauty of life is hidden and you might be able to find it, by Jun Ishikura

Vertigine ,  is proud to present a photographic  serie by the young and talented  photographer Jun Ishikura,

we love his vision , that  is echoed most clearly in the concrete capacity  to understand that beauty comes from strange places..

There is a small town that name is Namerikawa in Hokuriku area Japan.

People usually think the town has nothing but Watasenia scintillans and mirage.

However it has more great things.

Before I started photography I felt everything ordinary there and

I missed some wonderful things.

Observe your life carefully and  try to see it from the different perspective.

The beauty of life is hidden and you might be able to find it.

An old couple was fishing as usual.

A big heron flew down and walked around them to get fish from them.

But once it noticed it couldn’t get anything from them it flew away.

They continued fishing as if nothing happened.

It was summer  noon.

It was a peaceful moment.

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Jun Ishikura is a photographer based in Japan.

He captures a variety of sceneries through his camera lens

– mostly everyday people and their culture.

He researches the subjects to understand their background

and history when he takes their photographs.

SOLO EXHIBITIONS

2011 “Photographs”, Gallery BAR 556, Tokyo

2009 “TRIBUTE TO EAST WEST WAREHOUSE”,Yokohama Collectors Mall, Yokohama

2008 “The Incomplete Map”, Zaim-Café, Yokohama

2007 “About 100 Portraits”, Zaim-Café, Yokohama

GROUP EXHIBITIONS
2014 “Far Away Places ”, Darkroom Gallery, Vermont

2014 “Homing Pigeon”, Nitehi Kannai509 kadoue, Yokohama

2014 “Branch point Building ”, Nitehi Works, Yokohama

2014 “Freeze Frames”, Sakura Works, Yokohama

2013 “Onward – Navigating the Japanese Future”, Hive Gallery, LA

2012 “EPSON PHOTO GRAND PRIX 2011”, Epsite Gallery, Tokyo

2012 “Pray For Japan – Silent Auction Benefit Art Show”, Con Artist, New York

2010 “Beautified Taboo”, SUPERDELUXE, Tokyo

AWARDS

2014 “International Photography Awards  2014  Professional (Nature : Landscapes)”  Honorable Mention

2014 “International Photography Awards  2014  Professional (Fine Art : Landscape)”  2Honorable Mentions

2014 “International Photography Awards  2014  Professional (People : Culture)”  Honorable Mention

2014 “Prix de la Photographie, Paris(PX3) 2014  Professional (Portraiture-Culture)” Second Prize

2013 “International Photography Awards  2013 Professional (People : Culture)”  Honorable Mention

2012 “EPSON PHOTO GRAND PRIX 2011”  Jury Award

 

 

 

A sangue freddo 2# a Performance by Silvia Costa , at Uovo Perfoming Art Festival 2015

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Silvia Costa is one of the most inspiring perfomers and director in the italian scene, she has taken part in important theatre an opera productions at international level

Vertiginemagazine has been  fascinated  by the performance “A sangue freddo 2#” , a short performance especially conceived for the last edition of Uovo Perfoming Art Festival in Milan.  Starting from the images of her own exhibition “A sangue freddo 1# “showcased during the festival, A sangue freddo 2#, is a conceptual piece, where the body portrayed in the photography serie  by the artist, becomes a temporal appendix to the a process of disintegration of the different layers. The  bidimensional  coreographic  effect of the two performance on stage invites the public to observe the human body in its parts and in its morphology.

Intimate, delicate, and with a deep  poetic  physical tension , Silvia Costa’s  gaze is like  a sharp and pitiless scalpel..

all photos by Lorenza Daverio, courtesy of UOVO PERFOMING ART FESTIVAL

Ramona Nagabczynska, Re//akumulacja

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Vertiginemagazine,  attended Uovo Perfoming Arts Festival 2015, and discovered the amazing Ramona Nagabczynska.

Presented for the first  time in Milan,  in the occasion of Uovo Perfoming Arts Festival 2015  , one of the most interesting Perfoming  Art Festival in Europe,   Re//akumulacja, is a commissioned  opera, of the young and well known  in the international scene, polish coreographer Ramona Nagabczynska.

Paying tribute to the legendary solo work “Accumulation”, by Trisha Brown, an icon of American post modern dance , which subverted traditional codes of dance, Ramona Nagabczynska opened up to the opportunities offered by technology, reinterpreting Accumulation with a strong visual impact, where the dancing body tells a story made of echoes, quotations and translations , building  on an amazing powerful  Domino of movements.

All photos courtesy by Lorenza Daverio, thanks to Uovo Perfoming Art Festival.

The timeless poetry of the damage, Bouke de Vries

Bouke de Vries, London-based Dutch sculptor , is first a poet , his artworks reflect the  true value of time, the imperfections become  a new timeless  beauty , using shattered or chipped tea pots and Limoges figurines to create humorous new works created out of “floating shards” (held in place by clear Lucite spines).

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Bouke de Vries

The philosophy of repairing an object, so that the damage is celebrated as part of the object’s history, was one of the starting points of your works; like in the Japanese technique, Kintsugi, there is the idea of making peace with the cracks after an object has been broken. How would you describe your relationship with the sense of time, and the idea of being timeless?

 

Coming from a background as a ceramics conservator, I become more and more aware of the incongruity of repairing an object to a level where it is not possible to tell that it has ever been damaged, covering up what has happened to it. This becomes a denial of its history and turns the object into something that it isn’t. When I first came across the Kintsugi technique of gold repairs it struck a chord with me immediately: it makes the   damage part of the object’s history, appreciating that a piece can change through time and still keep its history  and its integrity. This was very much the starting point of the works i make now.

 

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Is there a place you like to visit to be inspired by research into objects?

London is a perfect hunting ground for research for my work, from the street markets to the great museums. Among these, the Victoria and Albert Museum holds a special place for me, with its huge variety of collections. Also I worked there as a student and experienced museum life behind the scenes.

 

Is there any special experience from the past that has made you who are you today?

All of life makes one what one is today but.

 

How would you define the word ‘beauty’?

Beauty is indefinable. It’s personal, a reflection of the observer. It’s random. It can change with time, both positively and negatively. Only you know.

 

Can you tell us about your recent projects?

Last year I was part of the ceramics biennale in Taiwan, an amazing opportunity to see my work alongside contemporary exponents of ceramic art. In february I had a large solo exhibition at the Chateau de Nyon outside Geneva. That occupied most of last year and became an overview of the past five years, including borrowing works from collectors, reworking earlier pieces, and works inspired by the permanent collection of the Chateau. And I have finished   a new group of works to be shown at the Tefaf fair at Maastricht with Adrian Sassoon. Currently  I’am in the collective exhibition  My Blue China  at Fondation d’Entreprise Bernardaud, the foundation was  set up in 2003 with an aim of broadening the use of porcelain beyond tableware, Fondation d’Entreprise Bernardaud has been actively supporting artists and other creatives in their exploration of the material as an artistic medium.

 

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all the photos courtsey of the artist and Gloria Maria Gallery