Built spontaneously, illegally and temporarily, amateur architecture is equal to professional architecture. But amateur architecture is just not significant.
One problem of professional architecture is, that it thinks too much of a building. A house, which is close to our simple and trivial life, is more fundamental than architecture. Before becoming an architect, I was only a literati. Architecture is part time work to me. For one place, humanity is more important than architecture while simple handicraft is more important than technology.
The attitude of amateur architecture, - though first of all being an attitude towards a critical experimental building process -, can have more entire and fundamental meaning than professional architecture. For me, any building activity without comprehensive thoughtfulness will be insignificant." - Wang Shu
Mark Ronson, Coca-Cola and Kim Gehrig from Somesuch & Co teamed up to celebrates the Olympic Games 2012.
“When we started planning the event, we set upon an extremely ambitious aim to visually represent the fusion between sport and music. We worked to create choreography that the athletes would perform in time with the beat of the track and as we were only shooting five takes, it had to be spot on every time. We had a unique opportunity to bring Move to the Beat to life in an innovative way and I’m delighted with what we achieved.” - Kim Gehrig from Somesuch & Co
Friends, Girls, Fights, Parties & Unicorns in the middle of Nowhere.
Written & Directed by Jonathan Entwistle
Produced by Charlie Kemball
Cinematography by Justin Brown
Edited by Richard Graham
Production Design & Costume by Beck Rainford
Sound Design by Anna Bertmark
Shot on Kodak 35mm with ARRI cameras
A Co-production with Stink & Blindeye
An elegiac film made up of exterior images of the last residential addresses of a group of New York City artists who died of AIDS.
a film by Ira Sachs
produced by Lucas Joaquin
shot by Michael Simmonds
edited by Brian A. Kates
sound by Damian Volpe
additional assistance by Jonathan Boyd and Andrei Alupului
visit Last Address
Director: Tomas Vandecasteele
Art Director: Iris Rombouts
Editing/Grading: Jorre Janssens
Designer: Tim Van Steenbergen
Styling: Benoit Bethume
Make up: Anne-Laure Rondel for M.A.C.
Hair: Aytekin Cesmeli for Toni Kalin
Camera: Jan Vandevyver/Jorre Janssens/Tomas Vandecasteele
Assistants: Catherine Jane Robertson/Diederike de Koeijer
Model: Yumi at DominiqueModels
This exhibition tells the stories of two men, Louis Vuitton and Marc Jacobs (artistic director of LV), and will highlight their contributions to the fashion world. How did they succeed in taking the pulse of their respective periods to innovate and take an entire industry forward? How did these two personalities, each with their own language, appropriate cultural phenomena and codes to write the history of contemporary fashion?
Louis Vuitton - Marc Jacobs
Les Arts Décoratifs, Paris
from March 9th to September 16th, 2012.
Fashion photographer and filmmaker Jacob Sutton swaps the studio for the slopes of Tignes in the Rhône-Alpes region of south-eastern France, with a luminous after hours short starring Artec pro snowboarder William Hughes. The electrifying film sees Hughes light up the snow-covered French hills in a bespoke L.E.D.-enveloped suit courtesy of designer and electronics whizz John Spatcher. “I was really drawn to the idea of a lone character made of light surfing through darkness,” says Sutton of his costume choice. “I've always been excited by unusual ways of lighting things, so it seemed like an exciting idea to make the subject of the film the only light source.” Sutton, who has created work for the likes of Hermès, Burberry and The New York Times, spent three nights on a skidoo with his trusty Red Epic camera at temperatures of -25C to snap Hughes carving effortlessly through the deep snow, even enlisting his own father to help maintain the temperamental suit throughout the demanding shoot. “Filming in the suit was the most surreal thing I’ve done in 20 years of snowboarding,” says Hughes of the charged salopettes. “Luckily there was plenty of vin rouge to keep me warm, and Jacob’s enthusiasm kept everyone going through the cold nights.”
Sleep is Commercial is the new avant garde from nowhere, no time,no season. syncretism of places, ages, words, people, volumes, images… always dreamed in Berlin. as a music and fashion label,The Sleep is Commercial Project has grown beyond any single idea and stands before you today as an experimental, established and experienced collective of artists. a name, a claim and a manifesto, Sleep is Commercial is always evolving, fueled by a fluid cast of creative minds; musicians, music producers, writers, artists, fashion designers, photographers and promoters. everyone gives their own input. these inputs create one output. this is called Sleep Is Commercial. no sleep. Dream. as Utopia Vivendi. sharing as Anti-conformism. Music and Love as Revolution. emphasis to innovation: syncretism of past, present and future; synonymous of evolution. SLEEP IS COMMERCIAL has a specific and definite identity with the consciousness that the subculture no longer exists, they are cultures with their own individuality. Creative Directors Livio Graziottin and Sergio Eusebi Director and Cinematographer Antonio Federico. Viola performing by Amihai Grosz Soundscape by Sleep is Commercial
“The Wolf I Used To Be is a short narrative about a wolf’s life change. Everyone has their own interpretation about what The Wolf means to them. It can be seen as a reflection of modern life. The grass always seems greener in the other side, but as is often the case in real life, it isn’t.”
Nearly Normal is a Production Studio based out of London, founded by Saulo Jamariqueli and Jaime Kiss, with over 25 years of combined international creative experience producing a wide array of projects including Motion Graphics, Stop Motion Animation, VFX, Editing, Branding, Art Direction, Illustration, Packaging, Interactive Projects, Viral, Print.