The artist Emilio Gomariz has a special message for us: «I am strOg and Open for the InvisiOble. Click to play.
via: Today And Tomnorrow
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The artist Emilio Gomariz has a special message for us: «I am strOg and Open for the InvisiOble. Click to play.
via: Today And Tomnorrow
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Sensitive topic. Therefore comments off.
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Finn Stone’s portfolio on saatchionline
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Sensibles Thema. Deshalb keine Kommentarmöglichkeit.
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Kinderchor:
(passend zur bekannten Volksweise)
Hallo, Ihr Lieben, nun ist es Märchenzeit,
Heut‘ gibt es Kuchen und ein wenig Streit.
Den Hänsel und die Gretel hört Ihr gleich rap-end,
Freut Euch des Lebens, es gibt ein Happy-End.
Märchenonkel:
Na, Bruder H. und Schwester G., alles klar, alles O.K.?
Bruder H. + Schwester G.:
Klar, Onkel H.
Märchenonkel:
Ist es wahr, was Euch geschah?
Schwester G.:
Es war wahr, Onkel H., als es klar war, daß die Hexe gar war, heiß wie Lava war der Ofen, in den ich sie steckte, sie jäh in ihm verreckte, das war das was ich bezweckte, sie mit der Leichtigkeit von WASA niederstreckte.
Bruder H.:
Schwester G. ich entdeckte den Trick, den Dreh, mit dem ich sie krass neckte, erschreckte, eine Knochenkollekte ich ancheckte, träge Knochensplitter durch ihre Gitterstäbe steckte, reckte, die Frist, mich zu kochen, so um Wochen streckte, das schmeckte der Hexe wahrlich nicht…
Schwester G.:
So löschte ich ihr Licht mit diesem Gedicht:
Walle, walle, Manche Schwade,
daß zum Feuerbade Knochen knistern
und Benzin im freien Falle
möge fließen aus Kanistern.
Kinderchor:
Hänsel und Gretel, die hatten ein Problem:
Und beide fanden das wirklich nicht bequem.
Die Hexe wollt‘ ihn mästen, sie stand auf Hänsel-Klein.
Doch vor den Gästen wollt‘ er kein Schnitzel sein.
Märchenonkel:
Meinen Flow habt Ihr gehört.
Doch hat mich Eurer sehr betört!
Bruder H.:
Verstört, betrübt hab‘ ich den Groove geübt. Der Feind saß uns im Nacken, ich lernte die Worte in Reime zu verpacken. Es war ein Muß diese Nuß zu knacken. Im Knast war diese Hast meine Last.
Schwester G.:
Ham‘ Reime geschrieben und Reime verpraßt, die wir zuvor erprobten. Nach Belieben andere verfaßt, mit Leukoplast verleimt, die wir lobten, innerlich in unsren Herzen tobten, das hat uns vereint.
Bruder H.:
Es scheint, daß beim Schwitzen, Zeitabsitzen, Silben wie Diamanten aufblitzen, die geschüttelt und gerührt konstantengleich und edel stetig durch den Schädel flitzen.
Märchenonkel:
So lerntet Ihr das Bleistiftspitzen.
Bruder H. + Schwester G.:
Sie haben uns geführt, den Weg ins Licht gewiesen!
Märchenonkel:
Ja, das ist bewiesen!
Schwester G.:
Einen guten Rap kannst Du nicht kaufen oder leasen, laß‘ den Flow nur laufen, in Flächen fließen, gleich den Bächen bunter Alpenwiesen…
Märchenonkel:
Mir will scheinen, im Reimen seid Ihr Riesen!
Kinderchor:
Hänsel und Gretel, sie dichten seitdem nur,
Ob in der Wanne oder in Waldes Flur.
Erst war’n sie ganz unten, dann kamen sie groß raus,
Was soll’n wir sagen, jetzt ist die Story aus.
Märchenonkel:
Und sie gehen froh nach Haus‘.
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Sensibles Thema. Deshalb keine Kommentarmöglichkeit.
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Die konsequenterweise zu fast mitternächtlicher Zeit ausgestrahlte Erstsendung von Olli Dittrichs begnadeter Satiresendung «Frühstücksfernsehen» ist schlicht unfaßlich. Sie hat mit den normalen Genres «Comedy», «Kabarett» oder herkömmlicher Satire nichts zu tun. Und strenggenommen ist seine Sendung auch nicht richtig lustig, sie verdeutlicht auf unglaublich intelligente Weise ziemlich drastisch die Armseligkeit des Formates «Frühstücksfernsehen». Ohne ein Ausnahmetalent wie Olli Dittrich wäre diese Art der Umsetzung undenkbar.
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Sensibles Thema. Deshalb keine Kommentarmöglichkeit.
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Click to enlarge quotenregeldly
David Mayo’s profile on saatchionline.
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Sensitive topic. Therefore comments off.
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We could not figure it out if Replaceface was successfully selling his original artwork to the people he portrayed in the way as indicated above; people like Frank Zappa, Steve Jobs, David Bowie, Brad Pitt, Bob Dylan or Eddie Murphy – just to mention only few of them. But what we surely feel is that he could do it if he would want it.
Replaceface’s profile on Society6.
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Arthur Mac Straightface is a remarkable artist; provided with a huge sense of humour and an extraordinary understanding of typography he is the one of the ones – whenever both qualifications shall come in play at once.
Ignoring his German nationality, Mac Straightface prefers more referring to his jewish mother and his arabic father. Consequently, his brother, also an artist, has chosen Mustapha Mandelbaum as his artist’s name.
Being brought up in such a mind-expanding atmosphere it is not a matter of greater surprise that Mac Straightface combines the uncombinable. He mixes milk and Tabasco for breakfast, honey and Mamite for lunch, peas and dynamite for a proper dinner ceremony. No wonder that he blends pornography with a serious amount of corporate typography. A combination-mania that led him and his stunning work straight into famous private art collections such as Charles Saatchi’s, Solomon Guggenheim’s, Sylvester Stallone’s or Enzo Ferrari’s.
Apart from focussing on his professional work, Arthur Mac Straightface is a religious man who strongly believes in an open-minded and sophisticated way of incarnation. That includes both financial modernism and modern realism:
Arthur Mac Straightface: «Credit Card Incarnation»
Before closing this review, we shall not forget to pay Mac Straightface’s new world map all the respect it deserves to receive: It is designed to make things easier and much more efficient. Now, the distance between Los Angeles and Shanghai is only to be measured in minutes to walk. In this case you will have done it in five. A perfect start fighting successfully against the nasty side-effects of a much more nastier climate change.
Also the Chinese Yellow Sea now touches America’s Yellowstone National Park in order to please all the fans of the Swiss music group Yello, which will – we are somewhat from being convinced of that fact – appreciate this step very much. And Dieter Meier? Well, he will remain as such. Of course.
Arthur Mac Straightface is driven by the idea that the whole world should comfortably fit on the back of a credit card. This would also constructively correspond to the actual size of the Internet, which is vital, virtual and perpetual, notable, variable and acceptable, which means that everybody can do everything without facing the consequences of an oversized workload.
So, let’s now examine the whole piece in detail: Basically, the first thing we see is «Baskerville». What does this want to tell us? We definitely know Sir Arthur Conan Doyle’s (1859 –1930) masterpiece «The Hound of the Baskervilles» (1902) and since mankind uses computers excessively he must have become aware of a typeface named «Baskerville» as well. Its creator was the famous John Baskerville (1706 –75) who was an English printer, a designer of typefaces, a close friend of Benjamin Franklin and a man who – the last stir he caused – was buried straight upright in an optimistic I’m-still-standing-position.
Is it that Mac Straightface wants to combine, once again, the uncombinable? We know that Sherlock Holmes was personally fighting against his enemy Professor Moriarty; and that both finally dropped off the cliffs of the deep Swiss Reichenbach falls. Since then they were never seen again. We also know that John Baskerville wrapped all negative forms of his priceless typeface in order to drown them literally in a small river close to his workshop. He had to repeat this procedure more that a hundred times until it was all done. These are, of course, two combinable facts.
But since it was not John Baskerville who did this to his own work but the typeface designer Thomas Cobden-Sanderson who carefully destroyed his «Doves» in August 1916, we are now, again, dealing with two uncombinable facts. And that is a typically characteristic aspect of Mac Straightface’s fascinating way to work. Needless to say that Thomas Cobden-Sanderson was not buried straight upright in an optimistic I’m-still-standing-position. But, as an emotional compensation, Mac Straightface put the German Tegernsee close to the centre of the map, a lovely and gorgeous place where Cobden-Sanderson used to regularly spend his summer holidays:
Arthur Mac Straightface: «Baskerville»
Arthur Mac Straightface refuses to exhibit his work. It is part of his philosophy to directly communicate with his collectors. He does not like the hype some art dealers are creating, pushing up the prices straight into outer-space without having bought a valid return-ticket in the first place.
From time to time Mac Straightface discovers some of his artwork on art-platforms, on which his collectors offer them for sale. He states that he could have noticing the prize for his work has risen constantly in the past without suffering through overheating. A classic win-win situation.
How does his work look like? Most of it is sized 120cm/180cm, printed on canvas which recognises high-quality art-market standards. His largest piece, however, measures 4 meters / 6 meters.
We gratefully say «Thank you!» to Mustapha Mandelbaum who recommended us to his brother. That is why we are now allowed to enjoy the luxurious advantage of launching Mac Straightface’s first feature ever. He himself does not even run a personal website.
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