Tuesday, December 21, 2010
Stolz und Vorurteil: am Raphael Perez Kunstwerk
拉斐爾佩雷斯，生於 1965年，在學校學習藝術視覺藝術比爾謝瓦，1995年以來工作，生活在他的工作室在特拉維夫。 如今，佩雷斯起著重要的作用，積極推動同志（女同性戀，男同性戀，雙性戀和變性者）藝術和文化在特拉維夫和互聯網門戶網站，他成立了藝術家的幫助下從社區達到了大批觀眾在以色列和國外。 他的作品是數以百計的私人收藏的一部分，在以色列和國外的，他的工作是在一些群展展出在特拉維夫藝術博物館，“Zman Le'Omanut”藝術畫廊，暗箱，在耶路撒冷的開放日，奧弗畫廊，論壇海法和其他私營公司和畫廊。
在他的繪畫和2003-4室出現了長篇電影，三名學生畢業電影和兩部電影。
拉斐爾佩雷斯是以色列藝術家首次來表達自己的生活方式是一個同性戀。 他的生活和社會生活中的同志連接並產生幾百件藝術作品。 他的藝術創作和極其罕見的每以色列和國際的藝術水平。 他的靈感主要是生活事件在猶太人和以色列定居點和影響，報價從歷史，藝術（大衛霍克尼，馬蒂斯）交織在一起。 這種獨特性已越過國際邊界，並已成功的同志運動和世界各地的藝術團體。
這是我們第一次見面，以色列藝術家誰在他所有的情緒前所未有的力量。 研究對象的圖片是日常生活的夫婦在日常生活的地方和情況下，識別一起追求一個同性戀關係和家庭，性別和公共設施。 佩雷斯的作品給我們帶來的文化空間和公共話語，生命的真相，並作為一個同性戀關係的各個方面 - 因果關係和性別，對愛情的渴望，日常生活和日常活動在任何地方浪漫關係 - 無論是通過描述兩個人在一個親密的場景在浴室，臥室或浴室，一男夫婦撫養孩子，或者同性戀版本的伊甸園，家庭活動，關係跌宕起伏，複雜性，共享生活以及世俗的，每天都在競爭，追求自我實現 - 由佩雷斯的生活。
佩雷斯第一部作品是個人日記，其中他創造了14年。 他提出一定要隱藏這些日記，因為他讓他們在個人日記中描述他的生活事件最真實的方式。 在這些雜誌，他畫的圖紙和草圖成千上萬，除了那些他寫和擦除他交替稱為“問題的文本，”文本描述的鬥爭，他的性取向。 迷戀他的日記與編目細節，日常活動，朋友和工作，以及重複出現的主題，如滿足於思想，他看到節目，電影，電視，書籍和檢討自己的工作。
當他寫完，佩雷斯拉他的日記。 每一層是由開始到結束一直雜誌。 事實上，這項工作就永遠不會結束的日記。
這場戰鬥永遠不會結束，而當情感溝通在紙上，將結束其作用，是毫無意義的方式，是主要的視覺圖形方面，因為需要隱瞞的書面文字佩雷斯。 在書本上和日記，這更是 - 如果他選擇畫的風格影響兒童畫，人物的性格開朗，快樂，天真，不描繪任何性行為，而當他試圖作為一個成年人繪製草圖更沮喪和悲觀。 在這些年裡，佩雷斯正在與學前兒童，教他們繪畫和運動遊戲。 佩雷斯說，他完全放棄了在這個時候，搜索一個關係，無論是與一個女人或一個男人，並與兒童有生存的意義。 本創作超過 10年，佩雷斯創造約 60磅不同尺寸的日記（筆記薄，舊筆記本，地圖冊，甚至古老的藝術書籍）。
看在他的早期畫作（1998-1999年）的過渡關係與婦女有關的關係與男子的克制，以突出的顏色，形狀和組成。 有些字符顯示強烈的情感表達。 這些婦女通常被克制和被動的，而快樂和愛的情感爆發在顏色和風格的男性繪畫表達。
“我想像，在一個關係女人，我能飛在天空，愛飛，但我覺得我有一些東西需要隱瞞。我被掐死，背後隱藏著一個面具，好像有一個內部尖叫出來。我很沮喪，我感到威脅 ...“
他的第一部小說和一個男人在1999年已涉及數天真畫，畫上的愛與熱情執行日常行為一起在親密的家庭環境。
“每天都在興奮的經驗，東西放在一起，並與其他人是偉大的，所以我畫的各種事情我想要做他。”
從目前的自我壓迫和鎮壓被停止，佩雷斯開始癒合的進程中，在突發的藝術作品是巨大的規模，數量，內容和生動的色彩來表達 - 紅色，粉紅色和白色。
2000年，佩雷斯開始繪畫的偉大工程的說明會議的同志社區（湖，池）及電話 Avivian陽台幅畫描繪的是男性的世界是不存在的，因為他的畫。 佩雷斯一直致力於今年多個系列的圖紙和繪畫的經驗，他愛他的初戀介紹他的新夥伴，在這幾個月裡，他畫從早晨到晚上。 確定這些畫是一個長期對話的水果與大衛霍克尼，以及可用於相似的主題和各種表現形式。
2001年，佩雷斯提出了若干的藝術作品，“肖像從社區”。 佩雷斯介紹了在大型，高逼真畫肖像畫 20多個成員的積極和已知的同志社區。 重點是所取得的成就，體現了社會的強勢地位在特拉維夫。
由於電話 :86 - Avivian畫家，在過去兩年中，佩雷斯是畫山水的中心城市地點，他的城市。 佩雷斯移動穿城而選擇熟悉的建築和地理標誌性建築，零售和娛樂，歷史遺址，並把它畫在從同性戀的角度來看彩虹標誌的裝飾提供了歸屬感的地方。 他的作品的特點是活潑的節奏和色彩，而且他們還描述了各種會議。 旅遊人物，他的繪畫作出聲明特拉維夫的形象，文化自由的地方普遍存在。
佩雷斯是一個城市特拉維夫地方年輕的家庭和夫妻生活，並填寫街道，公園，海灘，房子和陽台 - 在城市和空間。 他的畫中人物是相似的，這有助於加強對同志社群的成員在特拉維夫。 集體藝術作品的主題與互動的工作佩雷斯對以色列藝術家加利亞西門，誰處理與社會方面的基布茲。 西蒙生活和工作在一個基布茲，表達了人體模型的kibbutznik（一基布茲成員）和獨特性的基布茲成員的一部分，一個組，都是平等的。 西蒙的工作，現在有佩雷斯，以色列社會，這是搜索無窮大，這有助於一個認同意識和歸屬感。
佩雷斯地圖及其領土和邊界的標記，並沒有忘記歷史遺跡。 不像其他藝術家電話 Avivian佩雷斯希望目前的居民生活在城市和大愛在心裡。 通過對歷史遺跡的選擇在特拉維夫，他也對藝術家致敬內厄姆古特曼，誰愛這個城市，住在它的一生。 在他的童年，經驗豐富的歷史時刻古特曼（第一油燈照明，第一場演唱會，第一個補丁），並作為一個成年人，他是新的，這些事件的唯一性，而城市的魅力。
正如古特曼，佩雷斯成為市成為愛的對象，它已經開始裝點自己的色彩和豐富的能源提供了一個城市為“不夜城”中，新老結合的慾望。 佩雷斯精心描述的獨特性和包豪斯風格的建築和陽台沿現代玻璃和鋼結構建築，一切不尋常的角度，從一個矩形格式，將模擬一個多元化的城市全景在其百年慶典。
丹尼爾 Cahana利文和兒子，館長。
在他的繪畫和2003-4室出現了長篇電影，三名學生畢業電影和兩部電影。
拉斐爾佩雷斯是以色列藝術家首次來表達自己的生活方式是一個同性戀。 他的生活和社會生活中的同志連接並產生幾百件藝術作品。 他的藝術創作和極其罕見的每以色列和國際的藝術水平。 他的靈感主要是生活事件在猶太人和以色列定居點和影響，報價從歷史，藝術（大衛霍克尼，馬蒂斯）交織在一起。 這種獨特性已越過國際邊界，並已成功的同志運動和世界各地的藝術團體。
這是我們第一次見面，以色列藝術家誰在他所有的情緒前所未有的力量。 研究對象的圖片是日常生活的夫婦在日常生活的地方和情況下，識別一起追求一個同性戀關係和家庭，性別和公共設施。 佩雷斯的作品給我們帶來的文化空間和公共話語，生命的真相，並作為一個同性戀關係的各個方面 - 因果關係和性別，對愛情的渴望，日常生活和日常活動在任何地方浪漫關係 - 無論是通過描述兩個人在一個親密的場景在浴室，臥室或浴室，一男夫婦撫養孩子，或者同性戀版本的伊甸園，家庭活動，關係跌宕起伏，複雜性，共享生活以及世俗的，每天都在競爭，追求自我實現 - 由佩雷斯的生活。
佩雷斯第一部作品是個人日記，其中他創造了14年。 他提出一定要隱藏這些日記，因為他讓他們在個人日記中描述他的生活事件最真實的方式。 在這些雜誌，他畫的圖紙和草圖成千上萬，除了那些他寫和擦除他交替稱為“問題的文本，”文本描述的鬥爭，他的性取向。 迷戀他的日記與編目細節，日常活動，朋友和工作，以及重複出現的主題，如滿足於思想，他看到節目，電影，電視，書籍和檢討自己的工作。
當他寫完，佩雷斯拉他的日記。 每一層是由開始到結束一直雜誌。 事實上，這項工作就永遠不會結束的日記。
這場戰鬥永遠不會結束，而當情感溝通在紙上，將結束其作用，是毫無意義的方式，是主要的視覺圖形方面，因為需要隱瞞的書面文字佩雷斯。 在書本上和日記，這更是 - 如果他選擇畫的風格影響兒童畫，人物的性格開朗，快樂，天真，不描繪任何性行為，而當他試圖作為一個成年人繪製草圖更沮喪和悲觀。 在這些年裡，佩雷斯正在與學前兒童，教他們繪畫和運動遊戲。 佩雷斯說，他完全放棄了在這個時候，搜索一個關係，無論是與一個女人或一個男人，並與兒童有生存的意義。 本創作超過 10年，佩雷斯創造約 60磅不同尺寸的日記（筆記薄，舊筆記本，地圖冊，甚至古老的藝術書籍）。
看在他的早期畫作（1998-1999年）的過渡關係與婦女有關的關係與男子的克制，以突出的顏色，形狀和組成。 有些字符顯示強烈的情感表達。 這些婦女通常被克制和被動的，而快樂和愛的情感爆發在顏色和風格的男性繪畫表達。
“我想像，在一個關係女人，我能飛在天空，愛飛，但我覺得我有一些東西需要隱瞞。我被掐死，背後隱藏著一個面具，好像有一個內部尖叫出來。我很沮喪，我感到威脅 ...“
他的第一部小說和一個男人在1999年已涉及數天真畫，畫上的愛與熱情執行日常行為一起在親密的家庭環境。
“每天都在興奮的經驗，東西放在一起，並與其他人是偉大的，所以我畫的各種事情我想要做他。”
從目前的自我壓迫和鎮壓被停止，佩雷斯開始癒合的進程中，在突發的藝術作品是巨大的規模，數量，內容和生動的色彩來表達 - 紅色，粉紅色和白色。
2000年，佩雷斯開始繪畫的偉大工程的說明會議的同志社區（湖，池）及電話 Avivian陽台幅畫描繪的是男性的世界是不存在的，因為他的畫。 佩雷斯一直致力於今年多個系列的圖紙和繪畫的經驗，他愛他的初戀介紹他的新夥伴，在這幾個月裡，他畫從早晨到晚上。 確定這些畫是一個長期對話的水果與大衛霍克尼，以及可用於相似的主題和各種表現形式。
2001年，佩雷斯提出了若干的藝術作品，“肖像從社區”。 佩雷斯介紹了在大型，高逼真畫肖像畫 20多個成員的積極和已知的同志社區。 重點是所取得的成就，體現了社會的強勢地位在特拉維夫。
由於電話 :86 - Avivian畫家，在過去兩年中，佩雷斯是畫山水的中心城市地點，他的城市。 佩雷斯移動穿城而選擇熟悉的建築和地理標誌性建築，零售和娛樂，歷史遺址，並把它畫在從同性戀的角度來看彩虹標誌的裝飾提供了歸屬感的地方。 他的作品的特點是活潑的節奏和色彩，而且他們還描述了各種會議。 旅遊人物，他的繪畫作出聲明特拉維夫的形象，文化自由的地方普遍存在。
佩雷斯是一個城市特拉維夫地方年輕的家庭和夫妻生活，並填寫街道，公園，海灘，房子和陽台 - 在城市和空間。 他的畫中人物是相似的，這有助於加強對同志社群的成員在特拉維夫。 集體藝術作品的主題與互動的工作佩雷斯對以色列藝術家加利亞西門，誰處理與社會方面的基布茲。 西蒙生活和工作在一個基布茲，表達了人體模型的kibbutznik（一基布茲成員）和獨特性的基布茲成員的一部分，一個組，都是平等的。 西蒙的工作，現在有佩雷斯，以色列社會，這是搜索無窮大，這有助於一個認同意識和歸屬感。
佩雷斯地圖及其領土和邊界的標記，並沒有忘記歷史遺跡。 不像其他藝術家電話 Avivian佩雷斯希望目前的居民生活在城市和大愛在心裡。 通過對歷史遺跡的選擇在特拉維夫，他也對藝術家致敬內厄姆古特曼，誰愛這個城市，住在它的一生。 在他的童年，經驗豐富的歷史時刻古特曼（第一油燈照明，第一場演唱會，第一個補丁），並作為一個成年人，他是新的，這些事件的唯一性，而城市的魅力。
正如古特曼，佩雷斯成為市成為愛的對象，它已經開始裝點自己的色彩和豐富的能源提供了一個城市為“不夜城”中，新老結合的慾望。 佩雷斯精心描述的獨特性和包豪斯風格的建築和陽台沿現代玻璃和鋼結構建築，一切不尋常的角度，從一個矩形格式，將模擬一個多元化的城市全景在其百年慶典。
丹尼爾 Cahana利文和兒子，館長。
Kammerflimmer Kollektief
no i don't miss yeah i don't
"The birds sing outside their bare melody They sing as if conscious of companionship, now alone as if to the pale blue sky;. They sing passionate songs adressed to one ear only and then stop." Virginia Woolf
"This is all sky, but other than home at the top are birds that hang upside down in several varieties wind course, you all can not exchange the sun is shining, but it's not the sun.. It is the moon. When in fact it was night? " Dietmar Dath
Heike Aumüller sits on the floor, making music, singing listen in a type of English Which can only be understood by people who. Those who look, who want to see music, do not see anything at all And they feel nothing. John Frisch fondle his double bass like Kate Bush did in her video to "Babooshka". But while Kate Bush did not play, does fresh while simultaneously playing around with it, winding himself around the instrument - 1-0 for the venerably aged jazz musician. On the other side sits Thomas Weber, bent over his guitar, occasionally operating the electronics in front of him, while his other hand is being played by the guitar. Again and again, it drags the other hand towards the instrument - it's as simple as that. The audience has to want to listen and not only see. Those who can see, see the art of Heike Aumüller Which graces the cover. What one sees there is strong and vulnerable at the same time. Anyone who has ever watched a Bruce Willis action movie will know the sentence that Willis - suddenly more than just muscles and smiles - utters to the obligatory child (or woman, anyway, something to rescue): "Of course I'm afraid."
What do we learn from this? Those who make themselves vulnerable become strong. The Chamber has made itself Kollektief strong, had made itself strong even before it merged into a band and then as a band, is even grew stronger. And more vulnerable. Where the music used to be beautiful, it now became powerful and momentous. Dietmar Dath speaks the truth when he suggests that one should listen to the music loud - because Thus it gains even more depth.
The chamber Kollektief is emotive and impassioned. It is also as lucid and precise as those moods Which Robert Musil (who is above suspicion of a being a Romanticist) called "daylight mysticism. The lyrics and the music want to be heard, they want to be explored, even suffered. Sound builds Which songs are made of sounds, and yet they 're no longer songs.
Wild Ling "is the trio's strongest and most vulnerable album to date. It is a solipsist, Which floats solitary in its own space, somewhere between the orbits of jazz, kraut rock, pop and bright This space is an earthly heaven, Which we are permitted to inhabit - if we only can hear, with our ears as well as our heads. Jörg Sundermeier
the xxxxxx
The xx (pronounced "the ex ex")[1] are an indie rock band from London, England, United Kingdom, formed in 2005.[2] They met while studying at Elliott School, notable for alumni including Hot Chip, Burial and Four Tet.[3] Despite starting as a four-piece outfit, The xx became a trio when their second guitarist and keyboardist Baria Qureshi left the group in late 2009.[4] In September 2010 they won the Barclaycard Mercury Prize.
Aaliyah to CocoRosie, Rihanna to The Cure, Missy Elliott to Chromatics, The Kills to Ginuwine, Pixies to Mariah Carey and Justin Timberlake to Tracy + the plastic
The xx's song "Intro" was extensively used on television: in an AT&T commercial featuring Apolo Anton Ohno; often during NBC's coverage of the 2010 Winter Olympic Games in Vancouver, Canada;[14] during the series Cold Case; for the BBC News Newsnight coverage of the 2010 general election;[15], on Mercy ("The Last Thing I Said Was" episode) and also in Law & Order on the Dutch television network Net 5. "VCR" was featured in a Lie to Me episode. In episode 7 of the online BBC EastEnders spin-off E20 their cover of "Teardrops" was used. "Heart Skipped a Beat" was featured in a 2009 episode of 90210, as well as being the feature song for the March 2010 E4 advert for 90210. "Islands" was used in an episode of the Golden Globe-winning medical drama Grey's Anatomy. "Stars" was used in E4's youth drama Misfits in December 2009. "Crystalised" was used during the 13th episode of the 3rd season of The CW's acclaimed Gossip Girl TV show. "Infinity" was used in the 9th episode of the second season of HBO's Hung, and in the final (6th) episode of the first season of BBC's Lip Service. In January 2010, the xx performed in a 11-date sold-out tour in Scandinavia and Germany. A track mix of "VCR", "Shelter", "Intro", and "Crystalised" was also used in the Karl Lagerfeld Fall/Winter 2011 fashion show. Their music is currently being frequently used on school drama, Waterloo Road as well.
Second guitarist and keyboardist Baria Qureshi left the group in 2009. Initial reports stated that this was due to exhaustion, but the band later said they made this decision due to "personal differences".[16][17]
Late Night Alumni
Late Night Alumni is a US house group composed of Ryan Raddon (Kaskade), Finn Bjarnson, John Hancock, and vocalist Becky Jean Williams. They are primarily known for mixing dance music with strings and soft trance-like vocals from lead singer Becky Jean Williams.
Finn Bjarnson stumbled upon Becky Jean Williams in the summer of 2003. “I had just been given a local Christmas CD that I had produced a couple tracks for,” Finn recalls, “and as I was listening through the tracks, there she was! Her beautiful voice and style immediately struck me.” A couple of phone calls later and they were in the studio together for the first time. “I had worked up this song called ‘Empty Streets’ and wanted to try her voice out on it...” Finn continues, “and it took off from there!”
Finn had already been working in the studio with Ryan Raddon (aka Kaskade), and soon Finn, Ryan, and Becky formed Late Night Alumni. In 2004, Hed Kandi made an offer to license and release a full length Late Night Alumni album. “At that point,” Finn says, “I knew the band was not ready. We were missing an element.” That missing element turned out to be John Hancock; a talented local producer with whom Finn had been trying to “find an excuse” to work with for years. The band was complete and hard at work at the debut Late Night Alumni album; mixing electronic and organic elements for a unique brand of chill that is easily distinguishable in today’s down tempo house music scene.
Empty Streets was released in September, 2005. Around the same time, Hed Kandi was bought out by Ministry of Sound and the album got shelved. However, despite lack of support from the group's record label, it soon grew into an underground classic.
The single of the same name received massive support in both clubs and on radio, getting Top Ten Radio Play in the UK and U, and reaching #1 in Spain. “Empty Streets” has also been licensed to commercials including a spot for the Toyota IQ. In addition, more than a dozen dance compilations have licensed the track, and it remains the most popular and downloaded song on Tiesto’s “In Search Of Sunrise” compilation.
Finn Bjarnson stumbled upon Becky Jean Williams in the summer of 2003. “I had just been given a local Christmas CD that I had produced a couple tracks for,” Finn recalls, “and as I was listening through the tracks, there she was! Her beautiful voice and style immediately struck me.” A couple of phone calls later and they were in the studio together for the first time. “I had worked up this song called ‘Empty Streets’ and wanted to try her voice out on it...” Finn continues, “and it took off from there!”
Finn had already been working in the studio with Ryan Raddon (aka Kaskade), and soon Finn, Ryan, and Becky formed Late Night Alumni. In 2004, Hed Kandi made an offer to license and release a full length Late Night Alumni album. “At that point,” Finn says, “I knew the band was not ready. We were missing an element.” That missing element turned out to be John Hancock; a talented local producer with whom Finn had been trying to “find an excuse” to work with for years. The band was complete and hard at work at the debut Late Night Alumni album; mixing electronic and organic elements for a unique brand of chill that is easily distinguishable in today’s down tempo house music scene.
Empty Streets was released in September, 2005. Around the same time, Hed Kandi was bought out by Ministry of Sound and the album got shelved. However, despite lack of support from the group's record label, it soon grew into an underground classic.
The single of the same name received massive support in both clubs and on radio, getting Top Ten Radio Play in the UK and U, and reaching #1 in Spain. “Empty Streets” has also been licensed to commercials including a spot for the Toyota IQ. In addition, more than a dozen dance compilations have licensed the track, and it remains the most popular and downloaded song on Tiesto’s “In Search Of Sunrise” compilation.
Crystal Castles - Crimewave
Crystal Castles is an experimental electronic music[6] band from Toronto, Ontario, consisting of producer Ethan Kath and vocalist Alice Glass.[7] Crystal Castles are known for their chaotic live shows and their melancholic lo-fi home productions. The duo released many vinyl EPs between 2006 and 2007 and eponymous albums in 2008 and 2010. The band's debut album was included in the "Top 50 Greatest Albums of the Decade" by NME Magazine, at number 39.[8]
Hope Sandoval - Suzanne
Hope Sandoval (born June 24, 1966) is an American singer-songwriter who is the lead singer for Mazzy Star and Hope Sandoval & the Warm Inventions.[1] During live performances, Sandoval prefers to sing in near darkness with only a dim backlight, playing the tambourine, harmonica, glockenspiel or shaker.[2] Cameras were not allowed during her recent tours, and she is reputed to be "a woman of very few words".[3] Some interpret Sandoval's self-consciousness as pretentious, and she has been criticized for being "willfully aloof", "hard to understand", "coy and child-like" and for "hiding behind her long, dark hair" during performances.[4][5]
Sandoval has toured and collaborated with other artists, but of late, she states, "I like being alone and free to sing on my own and the time and vibe to create something. I get really, really anxious if I have to go into the studio with someone I don't know already." She sang vocals on Massive Attack's "Paradise Circus" (2010) and admired the "beautiful tracks" the band sent her, but they did not "meet up" for their collaboration.[3]
Sandoval has toured and collaborated with other artists, but of late, she states, "I like being alone and free to sing on my own and the time and vibe to create something. I get really, really anxious if I have to go into the studio with someone I don't know already." She sang vocals on Massive Attack's "Paradise Circus" (2010) and admired the "beautiful tracks" the band sent her, but they did not "meet up" for their collaboration.[3]
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