Kenmark Eyewear’s Post

Antinomia, finissage today, October 3, at 6.30 pm, at Avantgarden Gallery, Milan. The Antinomia, my last exhibition ends after 4 months. It is an unpublished urban tale, made up of urban legends and creative destruction, an artivist, counter-trend and anti-commercial documentary, factors that have inevitably influenced my expressive language both on an aesthetic and poetic level, contributing and in some cases, anticipating the development of currents such as: post-graffitism, brandalism, postvandalism and antistyle. A contemporary story that has been celebrating fight and trasform the degradation of society as an aesthetic and cultural factor for over 30 years.

Future-Proof systems are build to blossom, reseed, transform, decompose and bloom again under new conditions. And so are Saatgutkonfetti BBS aka Seedconfetti’s branding, give-aways and advertising alternatives. 🌷 Made to bloom and not burden. #saynotoplastic #sayitwithwildflowers #sustainableadvertising #giveaways #konfetti #branding #regenerativedesign

“SUBLIME STONE 2024” By the artistic director of the event Bettino FRANCINI, president of the international association A.I.E.S.M. A new edition of Pietra Sublime returns to Cavriglia. It is a project that connects art with places and their use; that art which in all its forms is capable of regenerating, of dialogue, of conflict, of questioning our being in the world. What could a life be without art? How could we love life without loving ART? These are questions that I often ask myself together with the other artists who will work for this new Cavrigliese edition.

A reflection on the sustainability of art from the artist’s works~ While casting a critical eye on mass consumption society and the information society, Mishima's works, which transform information and garbage into artistic expression through the process of alienation, are created with a playful spirit from everyday life. The exhibition will feature a lineup of early collages, objects of "breakable prints," and recent works made from environmentally friendly materials. The exhibition's highlight will be Mishima's representative and largest installation work, "Memories of the 20th Century." This work, which consists of a large number of fireproof brick blocks densely spread across the floor, has newspaper articles that Mishima selected from the last 100 years of the 20th century transcribed onto the surface of each brick, literally visualizing fragments of memory from the 20th century, and also seems to be engraved with her own memories of facing that era. Nowadays, it also makes us look at the issue of art and the environment as a whole, not as a dichotomy, but as a way of rethinking human beings' destruction of the environment. #mishimakimiyo

What are metaphysical hermeneutics? How can we best 'decode' the absurd? Does art require a criteria? What are the metaphysics of advertising? If I see that a company can create the VERY GREATEST art. Surely that's the best and most impressive thing they can do? Beverage advertising is my very favourite. How do you advertise something you sip, drink or gulp? Any. Way. You. Want. When your brilliance is casual, fun, grandiose, amusing, elegant, boisterous - and a spectacle? And innovative? It is impossible to ignore. You have transcended and defied all. 'What am I advertising? At this level of mastery? Sublime brilliance. That's all. We're casually demonstrating our greatness.' If Radiohead can release an EP that's not an LP and their EP has 7 tracks that are better than any LP that year with 12 tracks. Then? If a brand releases an art exhibition or installation? Or puts on a concert? And it's worth everyone's endless attention, curiosity and fascination? Guess what they now associate with your brand. Everything wonderful. The key element is surprise. A cheeky surprise, a funny surprise, a safe surprise, a reassuring surprise, a comfortable surprise. When it comes to the spectacle there are many ways to engage with it and different stages to your participation in it. Noticing Staring Being entranced and hypnotised Pondering what you're seeing while you try to process it all Studying it to better understand what's going on and how it does what it does Finding out who the puppet master is. The Wizard of Oz Telling yourself it's not worth your time and that you have cooler stuff to do Being intrigued again, knowing you might never see it again Enjoying it with someone and wanting to validate aspects of your shared experience, perception and interpretation Decompressing from the experience and debriefing These are personal notes on the various stages, variously experienced by various groups/types of people when they see a spectacle. When your spectacle takes place somewhere iconic? Now it's much easier to stage an iconic spectacle. And you will want the very best photographers, painters, drawers, and visisual artists on hand to interpret it and manufacture pop art and timeless art. Right then and there. Stage a pop up ART HAPPENING. Or a pop up Da Vinci workshop. You're manufacturing popular culture and soft power and influence and brand worth in REAL TIME. In a luxurious tapestry. You must be efficient and effective about it. It's like you set up your spectacle. Then you set up your circus in 5 minutes and get to it. Media circus, your provocation, your fashion elements, and as many mixed media artists as you can afford. Then upload it all, send it to your graphic design person or the artists work it all. And you have branding, PR materials, low and high art and all kinds of art to share with the world. About how THIS was that THRILLA IN MANILLA or that Bigfoot Sighting. I always loved illy coffee. Now, even more! Congratulations!

Since the confinement imposed to contain the spread of Covid-19, the Irish population seems to have turned in on itself or, at the very least, no longer frequent the cultural places it used to. This has been observed by the cultural players I've met, particularly in the world of art galleries, which don't get the same media coverage as music or literature. Nevertheless, everyone is trying to reactivate cultural life, following the example of the CAGA - Contemporary Art Galleries Association - whose role is to exhibit and promote their artists to the widest possible audience. And for the second year running, the CAGA is staging a major event in its galleries this November, inviting Dubliners to openings, exhibitions, workshops, documentary screenings and discussions with the artists over the course of 3 days - a veritable artistic marathon. One of the declared aims of this event is to bring back regular visitors, but also to introduce the galleries and contemporary art to non-experts of all ages - creative workshops have been organised in the galleries for children - and to show that the galleries are open to all, and that it is possible to walk through the doors to acquire a work as much as for the sheer pleasure of discovering them and the artists.  Meeting the artist, having a direct relationship with the work, is an important and irreplaceable experience that demystifies a place and a practice that are no longer reserved for an elite. The act of buying a work is a non-compulsory step that depends on the intimate relationship we have with art in general and with the work and the artist in particular.  This is what CAGA is trying to achieve by opening wide the doors of contemporary art galleries. Click on the link in my portfolio to see my visual report: https://lnkd.in/eEdddbWn

The new volume of KUNSTFORUM International is here! 🧵 𝗧𝗲𝘅𝘁𝗶𝗹𝗲 𝗥𝗲𝘃𝗶𝘃𝗮𝗹𝘀 🧶 The new themed volume provides insights into current developments in textile art, with a focus on previously overlooked actors and development lines. Detailed essays highlight the contemporary relevance of the material, while conversations with artists such as Otobong Nkanga, Kirstin Arndt, and Christa Jeitner, as well as the team of Ibrahim Mahama, report on current artistic practice. A common thread emerges, leading from traditional to contemporary textile art and intertwining global connections with regional identities. Discover NOW: https://lnkd.in/dqVfvcJt 🔗 KUNSTFORUM 297 Textile Revivals. Picking up the thread again. Edited by Sabine Maria Schmidt.

The exhibition Weaving Time explores the conceptual framework of this year's Vienna ArtWeek, Facing Time from a feminized perspective. The modernist understanding of time centers on progress, growth, and capital accumulation through a linear trajectory. According to capitalist production logic, time cannot be monetized in terms of feminized labor. Time spent on care work is often seen as wasted and lost. How do women* interpret the concept of time? How do they weave personal memories, traumas, and daydreams into this linear pattern? In this exhibition, artworks addressing gendered labor, ephemerality, the body, migration, spatial memory, and oblivion come together. Four artists reveal an alternative perception of time, encompassing a palimpsest of juxtaposed memories, a cyclical movement of repeating patterns, embodied traumas, the resilience found in the temporary and fragile, and the visualization of the invisible labor and lost time. https://lnkd.in/dZniXpZR

The importance of the display in an exhibition! The exhibition ‘Hello World. Revision of a Collection’ was on display at the Hamburger Bahnhof - Museum für Gegenwart in Berlin from 28 April to 26 August 2018. ‘Hello World. Revision of a Collection’ is a critical examination of the National Gallery's collection and its predominantly Western orientation: what would it look like today if a more cosmopolitan understanding had characterised its concept of art and its creation? How would an expansion and multiplication of perspectives affect the canon and art historical narratives? Based on these questions, the exhibition unfolds in thirteen thematic chapters as a polyphonic collaboration between internal and external curators across the entire exhibition space of the Hamburger Bahnhof - Museum für Gegenwart - Berlin.’ A canon for situational narratives was developed by the raumlaborberlin   Widening the view and placing it in relation to international cultural and artistic production - also in retrospect - gives us the opportunity to see the artworks in a new light. On the other hand, the frames of reference allow us to uncover visible references and gain new perspectives. Based on this dialogue of ‘retrospective vision’, an exhibition concept has been developed that also translates this form of observation, questioning and connection spatially as a starting point and accepts the challenge of providing impulses for the future.  #exhibitiondisplay #museumdisplay #museumcollection #curatorialproject #curatorialschool #venice #berlin