Monday, 14 October 2013
CERRE: SPRING 2014 VIDEO FASHION WEEK STYLE.COM
Sunday, 06 October 2013
ROGGYKEI presents SS14 COLLECTION "IRON DUALISM" TEXT BY YASUYUKI ASANO
Dear Diane and Shaded Viewers,
ROGGYKEI is a Japanese fashion label based in Osaka, founded by Hitoshi Korogi and Keiko Miyakoshi in 2006.
With the concept "Clothes as accessories, accessories as clothes", the designer duo presents near-futuristic coutures created by bold colours, metallic materials and sculptural shapes, blurring the boundaries of existing product categories.
Following to their showroom in Paris during fashion week, they opened their first exhibition in London last evening at Red Gallery Kanteen.
For SS14 they collaborated with London based Japanese animation artist Noriko Okaku, and personified the theme "Iron Dualism" by the strange world of "Tetsuo and Tetsuko" (iron boy and iron girl in Japanese).
(Tesuo and Tetsuko)
Tetsuo is a kind gentleman who loves fishing, Japanese chess and curling, while Tetsuko is a brave tomboyish girl who loves cooking and tennis. His dream is to be a human and her dream is to have a baby, and their favourite number is 26, obviously.
The story of Tetsuo and Tetsuko will be continued to next season.
(Keiko, Noriko and Hitoshi)
All photos from the exhibition by Yuhei Taichi
Thursday, 03 October 2013
OPENING NIGHT: THE 51ST NEW YORK FILM FESTIVAL HAS REASON TO CELEBRATE
Dear Shaded Viewers,
The evening began with a screening of Paul Greengrass's CAPTAIN PHILLIPS, starring Tom Hanks. The dangerous high seas of Somali pirates jangled our nerves as we, afterwards, mounted buses that took us to The Harvard Club to celebrate not only the film, but the nervy, bold and surprising festival that was about to follow. More to come on that.
The grand reception at the Harvard Club.
Photos by my date for the evening Dolly Meieran
1962 TRUFFAUT INTERVIEW OF HITCHCOCK PLAYING NOW ON @PRESENTFUTURE_ #SEEKANDLEARN
ANIMATION SHOWING 2026 COMPLETION OF GAUDI'S SAGRADA FAMILIA
Wednesday, 02 October 2013
IRIS VAN HERPEN COSTUMES FOR NEW YORK CITY BALLET
More about the costumes and the collaberation here.
Sunday, 29 September 2013
The Act Of Killing - by Silvia Bombardini
Dear Shaded Viewers and Diane,
Much had been said about The Act of Killing and to such unanimous extent, that when I finally had the chance to go for a screening a few weeks ago at Hackney Picturehouse, I couldn't help but walk in with great expectations, if of them I was vaguely suspicious: great expectations seldom are, after all, a promising mind-set to sit through a film. I should not have worried though. While I can safely say that Joshua Oppenheimer's documentary of the imagination was not like anything I could have possibly expected, it remains one of the most striking, terrifying, unforgettable pieces of filmmaking I've ever held my breath through.
Set in North Sumatra, Indonesia, Oppenheimer's film unveils the terrible truth of a national genocide, as shamefully unheard-of in our Western countries as it was never really hidden in its own land. But it's more than that; not only unpunished but the 1965-66 massacres are instead a source of pride among the aging, welcoming gangsters that still today walk around freely, and warmly greet the American director who thought so well as to make a film about their youth. Former death squad leader Anwar Congo is Oppenheimer's main character, and he knows something about cinema himself: before the attempted coup which allowed and encouraged their killing spree, he used to resell movie tickets with his gang, and claims to be a great fan of Al Pacino. But then he moved on to kill with his own hands over 1000 supposed communists, he recalls, and shows us how.
In fact, seeing how excited they were in front of the cameras, Oppenheimer invited Anwar and his group to play with them for a bit: they were to re-enact those scenes of torture and slaughter in their Hollywood style of choice, dressing up as victims themselves and casting fellow citizens to fill all the roles. This might sound unnecessarily gruesome, and more than a little vulgar, and I won't lie, it often was. A particularly distressing moment is when they restage the burning of a village. "The whole world will see this," one of them muses, pleased. Then "London, England! Forget Jakarta, Jakarta’s nothing!" and I swear I felt a shiver running through our seats, at the idea that these mass-murderers were putting up a show, just for us here to see.
Yet a few scenes later, while still petrified by what we've just witnessed, the subtle, unsettling logic behind Oppenheimer's idea starts to seep through. "I never thought it would look so bad" Anwar murmurs when shown the footage. Later on, when he is supposed to play the part of one of his prisoners, Anwar finds that he can't go through. Seeing himself again, on his tiny tv screen, he addresses Oppenheimer behind the camera in a whisper, "Did the people I tortured feel what I do here?". And this is, I reckon, the most powerful, terrible moment of The Act of Killing. Oppenheimer captures on camera the very instant when a man, who by politics and public fear has lived to his seventies nestled in lies, gets a first glimpse of the concepts of wrong, and evil, and the insurmountable weight of his own actions. What we see is not regret, not yet, not exactly, but the frightening dawn of self-doubt. "Have I sinned? I did this to so many people", Anwar pleads.
Much had been said about Oppenheimer's film indeed, blessed by executive producers the likes of Errol Morris and Werner Herzog, and analysed along the lines of Hannah Arendt's theory of the Banality of Evil. The director himself has suggested how the gangsters' celebration and pride in the massacres isn't but a shield to protect themselves from what they've done. Still, when the film ended, I've never heard a crowd leaving a movie theatre as speechlessly as we left Hackney Picturehouse, a few weeks ago.
If you wish to you can sign this petition to ask Indonesia’s President to Say Sorry for 1965/66: https://www.change.org/petitions/president-sby-say-sorry-for-65?share_id=MkWeAnbukT&utm_campaign=share_button_chat&utm_medium=facebook&utm_source=share_petition
Friday, 27 September 2013
MARTINA SPETLOVA SS/14 PARIS SHOWROOM SEPT 2ND - OCT 27TH AT THE EVE MEYER GALLERY
My good friend, London based Czech designer Martina Spetlova will be showing her latest SS/14 collection in Paris at The Eve Meyer Gallery from 27Th September - 2nd October. You might remember Martina from several post I have done in the past two years on her, here, here, and here as well as a Italian Vogue's recent Talent Issue here. Also see the great write up in The Telegraph which calls Martina "the London queen of texture". And for our Russian readers this piece from Wonder Zine. Below find images from Martina's latest collection as well as her SS/14 film directed by Marnie Hollande.
Martina wrote me this about her new film:
"Like the collection itself, the two films (they were two originally for interactive presentation but now they are merged into one) focus on the new textures and patterns I've created. I made headpieces/hoods that create striking and simple imagery for the film. Inspired by vintage Pucci ski mask and more recently Pussy Riot, my hoods reference agitators and provocateurs."
Eve Meyer Gallery
11 rue Michel Le Comte
27Th September - 2nd October
Tel: +44 (0) 75 0118 1728
Tel: +39 3382 307102
PS - Martina, I am look forward to seeing you and Paddy in Berlin at the end of the month and sorry I was delayed in making the post, been crazy past couple of days and weeks. Good luck in Paris and see you both soon.
Tuesday, 24 September 2013
ALBERT AND DAVID MAYSLES 1974 CHRISTO'S VALLEY CURTAIN - DOC NOW PLAYING AT @PRESENTFUTURE_ #SEEKANDLEARN
Thursday, 19 September 2013
BRESSON ON FILM - INTERVIEW AND MORE