Monthly Archives: Svibanj 2015

chen man, east and west

all reality is a phantom, all phantoms are real.” (chen man  陳漫 , beijing, china)

chen man je fotograf, grafički dizajner i slikar. iz kine, iz pekinga. rođena 1980. u mongoliji. lepa (radi i kao model), obrazovana, uspešna, autentična i ima šta da kaže. pogledaj prvo video dole. dobro ga pogledaj:

 chen man: east-west” at l.a. louver, 2014

kada kažemo kina danas , većina nas pomisli na zemlju koja se vrtoglavo brzo i snažno otvorila prema svetu. prema materijalnom, zapadnom svetu, pre svega. i pomislimo kako više ne nose ama baš svi kinezi ista odela, ne voze bicikl, ne jedu pirinač i ne drže samo restorane i prodavnice nepotrebnih, jeftinih stvari, ako uspeju da odu iz kine. chen man je jedna od onih iz ove velike i magične zemlje koja će nas podučiti da je kina mnogo, mnogo više od ovih stereotipa. chen man o ovim našim stereotipima govori i sa ironijom i sa razumevanjem. živi između kine i usa. između istoka i zapada. između tradicije i novog. i zna, vrlo dobro zna da smo svi različiti. i da smo svi isti. i da novac ne rešava sva. nigde. pa, ni u kini. ističe da je presedan uticaj na nju imaju drevne kineske filozofije, mnogo više nego zapadna kultura i materijalizam, čiji uticaj, međutim, ne poriče. njen stil je eklektički, odražava mnoštvo uticaja pod kojima stvara i živi…

chen man je odrasla u skromnom delu pekinga, u jednoj o donih uskih, pretrpanih, sporednih ulica. već sa dve godine crtala je miševe koji su carevali po kući, a kako su roditelji zapazili da su ti crteži prilično dobri odveli su je kod jednog starog majstora tradicionalnog slikarstva da je podučava. majka je bila lekarka, a otac grafički dizajner koji je pravio revolucionarne postere ogromnih dimenzija. “new york times” je za chen rekao da je pionir vizuelne revolucije u kini. izlaže širom sveta. sarađuje sa najvećim časopisima i brendovima. i govori! ona nije nemi fotograf.

Chen Man<br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> 12 Chinese Colors: Eosin 1, 2011<br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> c-print<br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> 76 3/4 x 51 1/4 in. (195 x 130 cm)<br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> Edition of 7, 3 A.P.

chen man, 12 chinese colors: eosin 1, 2011

 

as nothing more than a simple person, i have no power to change the future of mankind or myself. i sincerely hope that communication between people on a spiritual level will see great developments, and not just in numbers or statistics, but something we can all see with the naked eye. not just in form either, but a true balance of idealism and materialism, and worldly recognition of the true beauty of traditional chinese life. only if the majority of people live life in this manner will the world be a beautiful and peaceful place to live, people will have clean air to breath and fresh water to drink, and mankind will be able to attain an ideal and harmonious future.  (chen man, interview)

 

Чен Ман Лонг Ливе Домовина

chen man, long live the motherland, shanghai no. 1, 2010

IMG 0165

“after all, nobody knew how to appreciate picasso’s paintings until after his death. sometimes an artist’s job is to stir up controversy. i’d rather my work be criticised than neglected.” (chen man)

Avant-garde magazine covers photographed by Chen Man for i-D magazine.

Avant-garde magazine covers photographed by Chen Man for i-D magazine.

whatever the weather issue, i-d magazine celebrates 2012 – the year of the dragon with these portraits, photographed by chen man

sites:

http://www.chenmaner.com

http://chenman.vincentshi.com/

 the new generation should stop imitating western, japanese and korean culture, heritage from “old china,” political pop, the played-out symbols of the cultural revolution, and so forth. it’s about time for the new generation to build their own aesthetic and moral language.

(chen man for jing daily“)

here are two kinds of beauty – natural beauty and inner beauty. i believe the combination of natural beauty and inner beauty is what human should strive for, otherwise we may as well go back to being tribal. what people perceive and believe to be “environmentally friendly” determines the fate of our world. our world has become driven by materialism, and therefore it’s ever more important to promote the ideological conception of “harmony” – using minimal resources and maximum intelligence to create a better world. this is what our world needs. my goal is to present this ideological concept of “harmony” with visuals in my work to make it more understandable for people.

(ibidem)

self china magazine, may 2015, sophie marceau by chen man

Outside Inside the Dream, 2012 Copyright Chen Man. Courtesy of L.A. Louver

outside inside the dream, 201o, chen man

Oglasi

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anna heylen

“life isn’t about finding yourself, it’s about creating yourself.” (george bernard shaw)

shaw-a citira anna heylen na svom sajtu i već blic šetnja po toj cyber-space škrinji objašnjava i zašto.

volim kreatore koji imaju svoju priču, filozofiju, poetiku… koji imaju ono nešto više od prolaznog, od dekorativnog… anna kaže da modu ne treba shvatati suviše ozbiljno, kao što ni sam život ne treba uzimati preozbiljno. to je i poruka njene izložbe “dolls” koju je uradila 1993. godine kada je antverpen bio evropska prestonica kultura. kroz 130 identičnih lutaka, bez lica (da se u njih ne mogu naseliti ni zli duhovi), bez pola, kose… prikazala je svoj pogled na modu. odenula ih je i one su oživele. čoveka sve određuje, sve ga čini čovekom, pa i odeća… deo je našeg identiteta, rukopisa…

“liberty is a never-ending love-story” (anna h.)

anna heylen: these dolls are my soul and my great frustration.

ona voli prirodne materijale. bezvremeno. da dekonstruiše. spaja nespojivo. voli vunu i ovce. voli kinu!!!

završila je modni dizajn na kraljevskoj akademiji lepih umetnosti  u antverpenu (antwerp) i iako nije deo “antverpenske šestorke”, deo je te belgijske modne posebnosti i magije…

pisac tine hens je ove stihove napisala specijalno za anne:

“what do you see when you close your eyes?
an orgiastic explosion of contrasting colours?
or a sail ship that floats on a sleeping ocean?

what are your hopes made of?
orange bricks to built walls with?
or the intangible fibre of cotton candy?

which side of the border do you prefer?
the inside or the outside?
or don’t you like to pick sides?

can fashion fulfil dreams?
or is fashion an everlasting compensation,
for our failure to fly?

and is it possible to design clothes
that are as light, as full, as abundant
and have as much relief
as a bird’s plumage?

or is every collection just another try?”

i citira baš ove stihove iz “yellow submarine“:

so we sailed on to the sun,
till we found the sea green,
and we lived beneath the waves,
in our yellow submarine,

as we live a life of ease
every one of us has all we need,
sky of blue, and sea green, sea of green
in our yellow submarine. ( haha! )

ta vuna koja je njena strast… vuna stigla iz dalekih predela mongolije! i iz škotske! bela, meka, stvorena da štiti i miluje naša tela baš onako kako oklop, čuvar naše duše i zaslužuje…

aw 1998/1999

dolls

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deep deepmoss

liu xiaolu (dido liu) stoji iza branda deepmoss. dolazi iz kine. i ona je studirala na central saint martins.(pre toga studirala modni dizajn u beijingu). i ona je, poput nekih njenih sunarodnika donela novu dozu svežeg kiseonika. ono nešto staro novo. drugačije. tema njene debi kolekcije iz 2013. bila je “youthful old soul“. na njenom instagram prfofilu piše: “for young people, for old soul“. zatajena. nepretenciozna, a snažnog rukopisa. svoja. i kada za temu uzima modu sa kraja 19. veka. evropskog. kao da je našu evropsku prekomplikovanost pustila kroz filter svoje istočnjačke jednostavnosti. i strpljivosti. i prefinjenosti. i tako dobro idu i tom waits i laurie anderson uz nju. njene kolekcije nisu ograničene starosnim granicama onih koji će te kreacije imati čast da nose. a ne mari ni za druga ograničenja ova neobična devojka.

moja fasciniranost dizajnerima koji dolaze iz kine je, pre svega, u tome što donose nov pogled na lepotu, što to nije samo kozmetička lepota, što je jasno da iza te novine stoji duga, bogata, moćna tradicija. i želja. velika želja da se stvori delo ugodno i duši i telu. zažmurim i čujem šuštanje teške, kvalitetne svile…

kolekcija a/w 2015

hats by kreuzzz

kolekcija s/s 2015

“i think that the body, especially those of women, should be soft, and that qualities of strength and power should be on the inside.” (dido liu)

deepmoss F/W 2015 lookbookdesign by Dido Liu/hats by Kreuzzz/photo by Zephy Lou

photos by zephy lou a/w 2015

didi lou

kolekcija s/s 2014:

deep_moss_013

deep_moss_014

photos kian znang

pogledati: http://www.icshanghai.com/en/videoen/2015-04-23/33555.html

all the world is green – tom waits

I fell into the ocean
When you became my wife
I risked it all against the sea
To have a better life
Marie you’re the wild blue sky
And men do foolish things
You turn kings into beggars
And beggars into kings

Pretend that you owe me nothing
And all the world is green
We can bring back the old
days again
And all the world is green

The face forgives the mirror
The worm forgives the plow
The questions begs the answer
Can you forgive me somehow
Maybe when our story’s over
We’ll go where it’s always spring
The band is playing our song again
And all the world is green

Pretend that you owe me nothing
And all the world is green
We can bring back the old
days again
And all the world is green

The moon is yellow silver
Oh the things that summer brings
It’s a love you’d kill for
And all the world is green
He is balancing a diamond
On a blade of grass
The dew will settle on our grave
When all the world is green

deepmoss

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irene silvagni

odavno imam želju da pišem o njoj. nekako mi se činilo (i čini) da je prevelik zalogaj. ti pritajeni tigrovi,  skriveni zmajevi nisu jednostavni za opisati… irene silvagni, ta nezavisna i slobodna žena, rođena je u kanu 1941. poreklom je ruska jevrejka, kći emigranata… između ostalog bila je i kreativni direktor yohji yamamoto-a… kaže da su bili kao brat i sestra. ali, i da nije njegov saradnik, bila bi mi zanimljiva.  pre deset dana na instagramu sam počela da pratim profil byronesquevintage, tačno od dana kada im je gost postala ona. kačila je svoje privatno-poslovne fotografije iz dve decenije duge saradnje sa yy i setih se svoje stare namere da pišem o njoj. o njenom bajkovitom letnjikovcu u okolini avignona možete da čitate ovde: mezoargues.free.fr

kao i njen prijatelj/saradnik, duhovni harizmatični brat – yohji yamamoto, ni ona ne voli savršene, dovršene stvari. godine su za nju tek broj, ali ona nema potrebe da se podmlađuje medicinskim tretmanima, niti da farba svoju kosu… ona zna da je to stvar stanja duha. i slobode tog istog duha. posebno danas kada svet tako oksidira. naravno, uvek je u crnom… uređvala je modne biblije od elle do vogue i napustila sve to kada je osetila okove. i počela da sarađuje sa onim ko je doneo svež vazduh, miris slobode u pariz. sa yamamotom. ona je neko ko otvoreno govori o dominaciji centara finansijske moći u modnoj industriji, o nedostatku etike u tom poslu, a estetika bez etike je ništa. pa, i u modi.

tog 27. aprila na instagramu @bayronesquevintage stavila je  i ovaj tekst:

bonjour, i’m irene silvagni. this week i’ll be taking over byronesque’s instagram with my personal photographs taken over two decades with my dear friend yohji yamamoto. this picture was taken during my first trip to japan with him. when yohji invited me for the first time in japan, i went to an onsen in kyoto with nathalie ours, (note from byronesque: onsens are bathing facilities and inns around the hot springs). we only wore kimonos the whole time we were there. it was my first experience in an onsen and i fell in love with japan.

the film is directed and edited by then french vogue editor and little squares founder debra scherer. interview justin westovert.

***

for a long time how i had a wish to write about her. somehow it seemed (and seems) that is too big piece. those crouching tigers, hidden dragons  are not easy to describe…irene silvagni, this independent and free woman, was born in 1941, in cannes, the russian jewish origin, the daughter of immigrants… among other things, she was the creative director of yohji yamamoto… she said that they were like brother and sister. but, even she was not his associate, she would be an interesting one to me. ten days ago i started to follow the profile of byronesquevintage on instagram, exactly the same day when she become their guest there. she attached her private-business photos from two decades long cooperation with yy and i suddenly remembered my old intention to write about her. all about her fairy summer house in the vicinity of avignon you can read here: mezoargues.free.fr

as well as her friend / co-worker, spiritual & charismatic brother – yohji yamamoto, she does not like perfect, finished things. years are for her only the numbers, but she does not need to rejuvenate the medical treatments, or to colour  her hair… she knows that this thing is state of mind. and the freedom of that same spirit. especially today when the world is so oxidized. of course, she is always in black … she was editor of  fashion bible vogue and elle she left it all when she felt the chains. and she began to cooperate with that one, who brought the fresh air, the smell of freedom in paris. with yamamoto. she is someone who openly talks about the dominance of the centers of financial power in the fashion industry, about the lack of ethics in this profession, and aesthetics without ethics is nothing. and in the fashion,as well. on 27 th april she put this text to instagram:

bonjour, i’m irene silvagni. this week i’ll be taking over byronesque’s instagram with my personal photographs taken over two decades with my dear friend yohji yamamoto. this picture was taken during my first trip to japan with him. when yohji invited me for the first time in japan, i went to an onsen in kyoto with nathalie ours, (note from byronesque: onsens are bathing facilities and inns around the hot springs). we only wore kimonos the whole time we were there. it was my first experience in an onsen and i fell in love with japan.

irene silvagni

photo by alexia s, irene u svom vrtu

a ovo je insert iz razgovora koji je fotograf monika bielskyte (snimila fotografiju gore u vrtu irene silvagni)  vodila sa njom za someslashthings.com:

mb / why do you think people need to get close to death in order to start appreciating their life, all the simple things, to stop being afraid of giving of oneself? since i lost my friend, it made me realise i should not wait before showing people i really care about them, because maybe if people really knew that others cared about them, it could save them.

 is / yes but the problem is that you cannot help some people because their destiny is sort of traced. even if you don’t want to die, sometimes it is too late to stop the process of having hurt yourself. anyway, we all are going to die, that’s for sure. salvador dali made a record. he says that sometimes he invites death to come sit with him, have a drink, so he’ll know her better, so when she comes he’ll be less afraid. i have it here & i will make you listen to it in spanish because it’s really very surrealist & very true at the same time. if you got closer to the idea of death you would be less afraid to die at that certain moment of your life. life & death, i experienced both of them. when my children were born it was life & when my husband died in my arms it was death. those are the two most important moments of our lives. because those two things go beyond our will. the child is born & you cannot do anything about it & when we die, we cannot do anything about it. i believe there are no stronger moments than that in life— birth & death. the rest is just filling up your life & preparing your death. we are on this earth for a reason, so we have to try to fill it up with days that are full of things that are sometimes painful, sometimes joyful but always fulfilling because we have to try to live life the best we can. but we are all different & our concept of life is different. i am not perfect at all, i am the only one to know my own secrets & to know my defects & weaknesses, but i would like to look at myself in the mirror every night & say i did my best.”

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photo: ingmari lamy 

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