We’ve seen several Colonel Sanders incarnations over the past year, but while most have been about finger lickin,’ this one’s focused on ass kickin.’
At this weekend’s WWE’s SummerSlam (which has become a veritable brand bonanza), the professional wrestling organization unveiled its ad partnership with sponsor KFC. The resulting video, which you can watch below, will run as an ad on WWE Network throughout the rest of the year and into 2017.
While previous Sanders iterations have been played by comedy icons like Norm Macdonald, Darrell Hammond and Jim Gaffigan, this time around the part went to WWE star Dolph Ziggler, who faces off against the feathered nemesis played by fellow wrestler The Miz.
Who will survive, and what will be left of them? Let’s find out:
While last Friday’s “Unlimited Will” spot was the final entry in W+K Portland’s contribution to Nike’s “Unlimited” campaign, it appears the brand had one more final effort in the campaign. Nike worked with production company Dirty Robber (who worked on last month’s “Unlimited Serena Williams“) on “Unlimited Pursuit,” which, to its benefit, doesn’t attempt the meta voiceover approach of its W+K-crafted predecessors.
Instead, the spot relies on the actions of its impressive athletes: Scout Bassett, Simone Biles, Elena Delle Donne, Gabby Douglas, Allyson Felix, Dafne Schippers, Shelly-Ann Fraser-Pryce, English Gardner, Alex Morgan and Serena Williams. Set to Lissie‘s cover of Kid Cudi‘s “Pursuit of Happiness,” the spot documents each of its athletes in training. Needless to say, these women pull of some impressive feats while preparing for competition, with “Pursuit of Happiness” providing appropriate accompaniment and the actions resonating more absent the schticky voiceover gimmick.
It’s the kind of spot that could only really be pulled off at the conclusion of games, as viewers are now familiar with all these athletes and their stories. The spot functions as a reminder of the kind of hard work and determination that got these impressive athletes to where they are, with no need to deliberate on individual narratives.
Its focus on celebrating women athletes is an admirable one, particularly at a time when the different ways in which female and male athletes are covered is under scrutiny. Plus, Biles’ glance after sticking a perfect landing is a pretty ideal way to conclude the campaign.
Credits:
Nike Creative Director: Tad Greenough
Production Company/Agency: Dirty Robber
Exec Prod: Jason Puris
Exec Prod: Chris Uettwiller
Creative director: Martin Desmond Roe & Nick Frew
Post production Company: Coyote Post
Post production supervisor: Carlos Gonzalez
Editor: Celeste Diamos
Just over a year after naming New York City-based Barker as its new agency of record for a brand relaunch, SlimFast has retained the indie agency’s services after a full creative review.
Back in late 2014, Barker beat out Pereira & O’Dell, DiMassimo Goldstein and Omelet to win the business; this time, it pitched against two MDC Partners agencies (Doner and CP+B) as well as Omnicom’s The Marketing Arm and VaynerMedia.
This means that Barker, which was tasked with managing last year’s $50 million refresh, will continue to work on branding, marketing strategy, and creative concerning TV, print and digital for “master brand and innovation extensions.” It will partner with new media/direct response unit agency Chief Media, which won a separate review.
To date, Barker’s primary work for SlimFast has been the “It’s Your Thing” campaign, which launched in mid-2015.
The press release tells us that the campaign “dramatically reversed 7 years of declining sales for the venerable brand” and also claims that the TV post above “outperformed CPG norms in 13 categories in testing.”
Agency founder John Barker, who previously spent several years with the Grey Group, said: “Historically, fewer than 10% of incumbent agencies retain accounts. We beat very long odds against some of the best agencies in the business because we understand this consumer and know how to connect and generate action. We appreciate SlimFast’s confidence in our ongoing partnership.”
“Each of the finalist agencies presented compelling work, but BARKER came through again with the strategy and creative we felt would move us to the next level more quickly,” added SlimFast CEO Chris Tisi.
Unilever sold the SlimFast brand to Kainos Capital in 2014 for an undisclosed sum while retaining a minority stake in the business.
The Barker organization, which describes itself as “agents of change,” also lists PepsiCo, Estee Lauder, P&G, PDI Healthcare, NBC Universal and Conjure Cognac among its clients.
Its newest work for SlimFast will debut this fall.
The genocide of much of the indigenous population and almost 400 years of chattel slavery have resulted in a mass concentration of wealth and power, controlled by political and economic elites and the large landowners of Brazil. Unbreakable ties exist between the ruling class and corporate media conglomerates. Consequently, disinformation is a common thread in everyday Brazilian life.
Brazil, with the largest African-descendant population outside of Africa, prides itself on being a racial democracy. Basically, this term means that, despite the country being the last place in the western hemisphere to legally (and I say legally with handfuls of coarse salt) abolish slavery (in 1888), racism no longer exists. Racial democracy has long been used as Brazil’s societal bulwark, a term used to camouflage the violence directed at people of color. In 2015, in stark contrast to this seductive appeal to racial harmony, Ban Ki-moon, the United Nations Secretary General, observed that 50,000 people are killed in Brazil every year. The overwhelming majority of the victims are black or brown people. Historically, racial democracy has acted as sleeping gas, pacifying discontent for the many pervasive forms of racial discrimination.
Unlike the past, most Brazilians no longer identify as white. In 2014, The Brazilian Geographical and Statistic Institute reported in a national census that 53 percent of the population identified as Black or multiracial. However, if one trains her or his eyes on any popular Brazilian soap opera or corporate media programs, in general, that person would get the impression that Brazil is a country filled with people of European descent. Traditionally, people of color just so happened to grace Brazilian TV screens as maids, nannies, garbage collectors, drug peddlers, hoochie-mammas … you get the picture. US president George W. Bush, during a visit to Brazil and unaware of the country’s demographic makeup, asked former Brazilian president, Fernando Henrique Cardoso, “Do you have blacks, too?” Yes! Protests are taking place throughout Brazil in 2016. Why all the discontent? Corruption.
What is corruption as it pertains to Brazil? Corruption is the only aspect of Brazilian life that’s reached the coveted status of being truly democratic. Corruption permeates the entire Brazilian political landscape, without preference for any particular political party or persuasion.
Now we’re getting to the crux. If corruption is, and has been, so widespread, why are so many protests taking place at this specific point in time? Take a second look at the protestors. Who do you see? Brazil emphatically states that the majority of the Brazilian population is composed of black or brown people. Rarely do you see this demographic majority marching in protest against the government. You’re more likely to catch a glimpse of a black nanny who’s obliged to accompany her employers, in this case a man and a woman wearing green and yellow shirts. That man is, Claudio Pracownik, the vice-president of finances of the famed Brazilian football team, Flamengo. He’s hit the streets to protest the government of president Dilma Rousseff and, more importantly, ex-president Lula.
Who is Lula? Why is it important to understand his two-term presidency (2003 – 2010) in order to comprehend the current wave of protests? Lula is the charismatic, left-leaning leader who co-founded the Worker’s Party. He grew up in abject poverty in the northeastern state of Pernambuco. In the mid-1970s, during the height of the military dictatorship, Lula was elected president of the Steel Workers’ Union of São Bernardo do Campo and Diadema in the state of São Paulo. He was jailed for a month as a result of leading protests and strikes for improved workers’ rights. After the military dictatorship ended in 1984, Lula unsuccessfully ran to become president of Brazil in 1989, 1994, and 1998. Finally, he won the 2002 presidential election and was reelected in 2006. During his presidency, popular political policies were implemented in order to improve the lives of the poor, working class, mostly black and brown population. University, media, and employment quotas were implemented, guaranteeing opportunities to those who had long faced discrimination in these areas. Lula and the Worker’s Party didn’t equalize the playing field, however, more black and brown people attended university, became doctors, lawyers, engineers, public officials, or were hired as TV newscasters than any other time in Brazilian history. Also, one of Lula’s flagship public policies, Bolsa Familia (Family Allowance), was implemented in 2003. This internationally recognized social welfare program provides a monthly stipend to families who prove that their children are vaccinated and attend school. The program has received a symbolic vote of approval by the World Bank and also been described by the Economist as being an “anti-poverty scheme (that’s) winning converts worldwide.” Several countries in southern Asia, Turkey, as well as the municipality of New York, have all implemented similar versions of Bolsa Familia. Redistribution of wealth and privilege had reached its apogee during Lula’s presidency. Minimum wage had risen by 70 per cent and more than twenty million new jobs had been created. Lula’s approval rating had reached 90 percent when he left office and his successor, Dilma Rousseff, also a member of the Worker’s Party, was elected. The ruling elite and their corporate media cohorts, many of whom are responsible for conjuring an image of Brazil as being a racial democracy, were hysterically outraged as a result of these democratizing policies.
Brazil’s ruling class, as white as the eye can see, unable to defeat the Worker’s Party in democratic elections, has had enough. They’ve opportunistically latched onto the latest series of corruption scandals—tax evasion, money laundering, personal enrichment and some—to try and impeach president Dilma Rousseff, destroy the image of ex-president Lula (there’s a possibility that he will run for a third term in office in 2018), and undermine the Worker’s Party. Like the opposition parties on the center to right, certain members of the Worker’s Party have been implicated in, seemingly, endless corruption investigations, none of which have incriminated president Rousseff. Big name politicians, even CEOs of multi-billionaire dollar corporations, have been hauled off to jail.
So many officials across the political spectrum have been accused in the current corruption schemes that, if president Rousseff is impeached, there’s no scandal-free political party to assume the Brazilian government. In fact, all of the political parties heading the impeachment process have committed even worse crimes than the politicians in the Worker’s Party.
Corporate media elites have branded the recent protests in Brazil as being a just fight against corruption. Nobody questions if there’s corruption in Brazil or a widespread political crisis complicated by an economic recession. But to really appreciate the untold factors boiling just beneath the surface of the current wave of protests, one must understand that Brazil is a rich nation filled with poor black and brown people. Rarely do you see them slamming pots and pans together on public streets, adding to already high levels of noise pollution, demanding the impeachment of president Roussef and smirching the image of ex-president Lula.
— Agente Z9R conducts clandestine analyses of the unspoken truth in Brazil. Sometimes they pen articles about their findings.
The post A racial democracy appeared first on Adbusters | Journal of the mental environment.
Preacher, the Austin-based agency launched by Mother New York alums in 2014, added to its creative team with the appointment of Kim Nguyen as associate creative director.
Nguyen joins Preacher from BBDO New York, where she served as an associate creative director since July of 2015 and worked on the agency’s “Whatever’s On the Line. Priceline.” campaign.
Prior to joining BBDO, she spent over three years as an associate creative director with Grey New York, while also working as a copywriter on the agency’s “Versus” campaign for DirecTV before leaving for BBDO. Before joining Grey in June of 2012, she served yearlong stints as a copywriter with Saatchi & Saatchi and TBWA/Chiat/Day. Over the course of her career she has worked with brands including Bud Light, AT&T and the NFL, in addition to the aforementioned Priceline and DirecTV.
Nguyen’s arrival at Preacher follows Beam Suntory appointing the agency as creative AOR for its Knob Creek and Basil Hayden’s whiskey brands earlier this month. The agency’s client roster also includes Squarespace, Tommy John and Golfsmith.
A few weeks ago i took advantage of a long morning in Brussels to visit Andres Serrano. Uncensored photographs at the Royal Museums of Fine Arts.
Uncensored photographs | Andres Serrano
I’ve always liked the work of Serrano. A lot. It’s outrageous, in your face and enjoyably iconoclastic. Portraits of the Ku Klux Klan leaders, close-up of Trump trying his best to look ‘deep’, plastic crucifix immersed into urine, bondage scenes, decaying corpses at the morgue… Shit. His images would be merely anecdotic if they were not also carefully shot, framed, lit and composed.
The exhibition at the Royal Museum of Fine Arts made me realize that until now i had paid the wrong kind of attention to his work. Blinded by the scandalous aura of the images, i had overlooked the compassionate look at society, the deep concern for humanity that a closer inspection reveals. With his portraits of imperfect individuals, Serrano doesn’t judge, he draws a portrait of our deeply flawed society.
Andress Serrano, Killed by Four Great Danes, 1992. From the series The Morgue
Andres Serrano, Blood and Semen V
In an attempt to explain why they chose to present works that caused controversy, criticism and physical attacks, the Royal Museums of Fine Arts of Belgium wrote:
To show Serrano means to assert our basic values. Against barbarism and intolerance. Against obscurantism and inhumanity.
I wasn’t expecting to like this retrospective so much. Even the audioguide was not boring. Cunningly, the curator asked Serrano to talk directly about his photos. So that’s all you hear in the audioguide: the voice of the photographer telling you about his experiences, how he met the people he worked with, the challenges he encountered, the motivations behind the images. I could have listened to him for hours.
If you can’t make it to Brussels before the show closes (soon! on 21 August!) then check out this very small selection of the works on show. Most of the little texts underneath are quotes taken from Serrano’s descriptions of his work.
Andres Serrano, Klanswoman Grand Klaliff II, 1990
Andres Serrano, Klansmen (Knight Hawk Of Georgia of The Invisible Empire IV) 1990 © Andres Serrano, Courtesy Galerie Nathalie Obadia Paris/Brussels, THE KLAN SERIES
“The fact that i’m not white made it a bigger challenge, as well as the scandal of Piss Christ made me a natural enemy of the Klan. It was a challenge for them to agree to be photographer by somebody who embodied everything the Klan was against. It was difficult and risky too. Some people saw it as a provocation. Perhaps, but these photographs are first of all a confrontation, the desire to look them in the eye and represent them, because i regard the Klan as the outsider and I am an outsider myself. Aside from our antagonism, this similarity interested me.”
Andres Serrano, Hacked to Death II, 1992. From the series The Morgue
“The Morgue is a place built up around the human body, which is always present. Each photograph works as a portrait, all the stronger because of its singularity. First thing is that I wanted to protect the identity of the people. That’s why they are masked. Using close-up and focusing on details gives their individual qualities more expression. As well as the human being still present, these details symbolize death, sometimes horrible and violent barbaric, sometimes cunning and peaceful.”
“Hacked to Death, from the Morgue series, is the portrait of a man killed by his wife. Even though he was stabbed twenty-three times, I was struck by the strong presence of this model, as encapsulated by this wide-open eye staring at the viewer. I felt a sort of threat similar to that of the guns in Objects of Desire. We look at the photograph but it stares back at us. It erects something against us and confronts us. This is an important aspect of my work.”
Andres Serrano, Infection Pneumonia, 1992. From the series The Morgue
“For me, the body of the model in Infectious Pneumonia is like classical painting. That’s how it appeared to me. I never touched any of the bodies I photographed in the mortuary. The sense of drapery and the timelessness of form striving for ideal perfection find singular resolution through connection, as the title indicates, to death 26 through illness, an internal process that attacked the body itself. The classical ideal is asserted and destroyed by its own built-in obsolescence. Its end is inside it.”
Andres Serrano, Rat Poison Suicide II, 1992. From the series The Morgue
Talking about Rat Poison Suicide: “In this photograph, the initial perception from a distance presents a sort of eroticism through the lighting, the velvety material and the sensuality of the skin. But it’s a dead body. The eye doesn’t realize this at first and the image tells us something different from what it is. What the title tells us with the objectivity of the cause of death. Sometimes painful, as in the case of these children, who seem to be asleep and who died of pneumonia or meningitis.”
Andres Serrano, Colt D.A. 45, 1992, from the series Objects of Desire
“The title of this series comes from the Buñuel film That Obscure Object of Desire (1977). I’m a big fan of his work. Having to work in New Orleans, I focused on the weapons that circulate there freely and everything a hand gun can mean as a psychic substitute. There I met gun collectors ? men, never women ? who treat these weapons like works of art, who respect them, admire them and covet them. The guns I photographed were all loaded. The desire was also a threat. I like the idea of looking death in the eye, of facing danger.”
Andres Serrano, Piss Christ, 1987 © Andres Serrano, Courtesy Galerie Nathalie Obadia Paris/Brussels, IMMERSIONS SERIES
“As a Catholic, i was brought up in the love of Christ, where divinity and humanity, ideal and sacrifice, purity and poverty are mixed. And so it seemed natural to me to immerse a crucifix in urine and call it Piss Christ. This photograph isn’t sacrilegious or blasphemous for me.
Crucifixion is a terrible torture, an act of cruelty that is always present. This small object that is so familiar to us, that we pray and touch with love, do we still see the horror it represents. My Piss Christ is a Christian work, a devotional work in the most traditional sense.”
Andres Serrano, Black Supper, 1990
“Taken in 1990, Black Supper is the last of the Immersions. I had arrived at the end of a road and I hesitated over this subject. Unlike the other Immersions, I used water. Bubbles formed accidentally, making it hard to see the subject. They give the polyptych this unreal, fairytale effect. These five photographs are not one image cut up but five different, separate shots that can form a bigger whole.”
Andres Serrano, Roberts & Luca vandalized
The History of Sex. View of the exhibition space in Brussels
A room separated by heavy black curtains from the main galleries shows works form the series History of Sex. Some of them had been vandalized in 2007 in Lund (Sweden) by a group of masked neo-Nazi. The attack was part of a campaign to protest against decadence and “degenerate art”, a term used by the Nazi regime in the 1930 to condemn virtually all modern art.
Andres Serrano, Fool’s Mask IV,Hever Castle, England (from the series Torture), 2015
Andres Serrano, XXVI-1, 2015. © Andres Serrano, Courtesy Galerie Nathalie Obadia Paris/Brussels, Torture series
“When I did the Torture series, my latest, I had a very strange feeling because I had to act as the torturer and at the same time empathise with the victim. Again, there is the duality: suffering and violence, sacrifice and inhumanity, the torturer and the tortured. The objects all are real and authentic, used to inflict cruelty through history. I found them all over Europe and they remind us of what human beings can do to other human beings. In a sense it is like the other side of Piss Christ, the side of violence and cruelty. With regard to the subjects, some bear direct testimony and others are actors taking part in a tableau vivant.”
Andres Serrano, Kevin Hannaway. From the series ‘The Hooded Men’
Part of a series of photos showing 4 hooded men. Behind the hoods are real members of the IRA (Irish Republican Army) arrested by the British police in the 1970s and held in isolation, hooded all the time. The ordeal lasted years for some of them. Serrano met 4 of these men and asked if he could photograph them in the hoods. Now old, they agreed because the hoods have become an inseparable part of their martyrdom despite the years.
Andres Serrano, Ahmed Osoble, 2015. From the Denizens of Brussels series
The Royal Museums of Fine Arts sent Serrano in the streets of Brussels and he came back with Denizens of Brussels, a very moving series portraying people living and sleeping in the streets of the capital.
Andres Serrano, Denizens of Brussels
Andres Serrano, The Other Christ, 2001
Andres Serrano, Lucas Suarez, Homeless, 2002. From the series America
Andres Serrano, Cross
Andres Serrano. Uncensored photographs is at the Royal Museums of Fine Arts of Belgium in Brussels until 21 August 2016.
Today in News We Missed, DigitasLBi announced some changes atop its North American organization last Friday.
Most prominently, the Publicis network promoted chief communications officer and frequent recipient of AgencySpy email queries Jill Kelly to the role of chief marketing officer. This is not an unprecedented move as various agencies like, for instance, R/GA have recently promoted their heads of PRs into CMO or other top marketing roles.
In the new position, Kelly will “lead the shape and form of the agency’s brand ‘voice’ to key audiences, outside of new business prospects and consultants.”
The Drum first reported the move. Kelly replaces outgoing chief marketer Kenneth Parks, who was EVP/executive managing director at DigitasLBi until getting the North American CMO promotion in early 2013. He has left the agency to “pursue his next chapter,” according to a statement provided to The Drum.
Parks also led the organization’s new business efforts in North America, and former DigitasLBi San Francisco EVP/managing director Dave Marsey will assume those responsibilities while holding the newly created chief growth officer title for North America.
Marsey, who was promoted to MD in the Bay Area in January 2013, has been replaced in that position by Christian Birk, former managing director of DigitasLBi operations in Denmark and Norway.
All will report directly to North American CEO Tony Weisman, who said this about Marsey: “Dave has the ingenuity and creativity to help us win and grow — that’s why he has one of the best new business run rates within the global network. His proven talent as a skilled relationship and team builder has followed him throughout his nine-year journey at the agency. We are so very proud of his story.”
Kelly has been with DigitasLBi since 2011. She previously served as head of communications at Starcom MediaVest and marketing manager at Universal McCann.
Image via 4A’s/DigitasLBi
Credits:
Creator: Charlotte Tilbury
Director: Antoine Wagner
VR Creative Director: Happy Finish – Daniel Cheetham
VR VFX Supervisor: Happy Finish – Davide Preite
VR Producer: Happy Finish – Charly Levene
360 DOP: Happy Finish – Elliot Graves, James Brown and Jamie Mossahebi
Production Assistant: Happy Finish – Lydia Beesley
360 VR Shoot Producer: Happy Finish – Sam Adam
DIT: Ghandi El-Chamaa
A clever campaign from Russia adds new utility to the dead-tree branding tool of the business card, by turning it into a blood alcohol test that can let bar patrons know whether they’re sober enough to drive safely—or should arrange for a ride to come pick them up.
W+K Portland launched a new spot for KFC introducing “Extra Crispy Sunscreen,” a concept developed by Edelman Dallas, with a 60-second mock infomercial for the (real) product, which the brand is giving away.
The spot sees the return of George Hamilton as the “Extra Crispy Colonel Sanders,” after assuming the role at the start of the summer (something tells us to expect a new Colonel Sanders when the summer’s over). “Extra Crispy Sunscreen” opens with a series of question in the typical infomercial style: “Are you tired of messy sunscreen? Sick of that awful lotion odor? Do you want to smell like fried chicken, but you’re just not hungry?”
The answer to all of these dilemmas, of course, is Extra Crispy Sunscreen. Hamilton himself hocks the product as not just smelling great but sure to keep you “feeling delicious.” Um, okay.
KFC is really giving the product away via mail order, by the way. So if you want to smell like fried chicken while ensuring you don’t get burned at the beach, you can order some. Or just apply regular sunscreen mixed with chicken fat. Your call, really. Just don’t eat the stuff.
Credits:
Client: KFC
Agencies: Edelman Dallas and Wieden + Kennedy, Portland, Ore.
Creative Director: Eric Baldwin, Jason Kreher
Copywriter: Shaine Edwards
Art Director: Matthew Carroll
Producer: Tiffany Golden, Ben Grylewicz
Business Affairs: Connery Obeng
Account Team: Jesse Johnson, Andrie Wheeler, Kate Rutkowski, Madeline Parker
Social Strategy: John Dempsey
Director: Matthew Carroll
Editorial Company: JOINT
Editor: Eric Hill
Post Producer: Chris Gerard
Mixer/Sound Engineer/Sound Designer: Noah Woodburn
These illustrated billboards sum it up featuring people in jobs where mobile banking should be discouraged. Just because you can it doesn’t mean you should seems very much like something a portfolio student would have brought me when I was still teaching, but the illustration rescues it from being too much of a student idea. Also there are only so many ways you can say “bank from anywhere,” on a billboard before it slips into dullsville and these at least look fun. My favorite is the surgeon followed by the pallbearer.
Y&R New York launched a new campaign for Campbell’s Chunky Soup ahead of the new football season starring NFL players Drew Brees, Odell Beckham Jr., Eddie Lacy, Todd Gurley, Eric Ebron and Kyle Long, entitled “The Everyman All Star League.”
The campaign takes a look at a sort of reverse fantasy football, where NFL stars draft everyday guys out of Brees’ basement. It’s unclear what kind of metrics the league is based around, but it seems that guys like Mitch Greenwald are in high demand. Greenwald is a welder and volunteer fireman who still finds time to make tiny doll furniture for his daughter. Beckham Jr. announces his pick, much to the chagrin of other league participants who had Greenwald in mind for their own teams.
“In this campaign, we turned the tables on traditional fantasy football and asked NFL superstars to draft everyday guys in Drew Brees’ basement,” explained Campbell’s Chunky soup brand manager Abby Elu. “In a fun and light-hearted way, the campaign celebrates the daily victories the ‘everyman’ tackles on and off the field and highlights how Chunky soup fills up all kinds of people – from a Super Bowl stars to busy parents and loyal neighbors.”
The approach builds off the brand’s past NFL efforts with a slightly new (but still plenty cheesy) spin in the “Everyman All Star League.” Interested parties can head to EverymanLeague.com to create their own player card, be placed on one of the general mangers’ teams and enter for a chance to win Super Bowl LI tickets, NFL-licensed autographed gear and other prizes.
Four additional spots will round out the campaign over the course of the NFL season, running on ESPN and the NFL Network. The ads will continue to explore “The Everyman All Star League” run out of Drew Brees’ basement.
Hey Jammers,
Your responses last month to our Cool Fascismo issue were fantastic … you gave us deep, intimate and heartfelt contributions that helped turn this issue into one of our most provocative and soul searching ever. Check it out: Cool Fascismo hits newsstands worldwide this week.
Now we’re brainstorming A New Structure of Feeling . . . a visually and philosophically driven 128-page blast that takes modernity and postmodernity to task for leading us into the dead end. In this issue we ask: Can we reset modernity? Come up with the contours of a new ‘Nomo’ era … a new economics, a new politics, a new aesthetics … a new structure of feeling?
Send us your thoughts on the mo and the pomo eras and your visions of what the new nomo era could be all about. Send us anecdotes, gripes, jibes, rants, musings, manifestos, poetry, cartoons, illustrations, photographs – fresh new ways to think about the way we live, love, and feel our way towards a new kind of future.
Send to editor@adbusters.org or artdirector@adbusters.org no later than Monday, August 29 . . . give yourself a kick in the head (and career!) and help turn this issue into an era-changing mo—>pomo—>nomo inspiration for generations to come.
For the wild,
Eds
The post Can we reset modernity? appeared first on Adbusters | Journal of the mental environment.
Client: Special Olympics Hellas
Advertising Agency: socialab, Athens, Greece
Agency website: http://www.socialab.gr
Art Director: Thanasis Chondronasios
Designers: Elena Theriou, Andili Rachouti
Creative Director: George Paschalidis
Copywriter: Romanos Frentzos
Account Manager: Nancy Papadimitriou
Business Unit Director: Tasos Veliadis
Sid Lee, the international creative agency network acquired by Japan’s Hakuhodo DY Holdings last summer, will be closing its Amsterdam office at the end of this month to consolidate all European operations in Paris.
The office opened in 2008 as part of a network that currently employs approximately 600 — according to LinkedIn — in Amsterdam, Montreal, New York, Paris, Toronto and Los Angeles.
A statement from founder and CEO Jean-François Bouchard:
“For 10 years, Sid Lee Paris has distinguished itself by its capacity to realize impactful creative communication campaigns in France, Europe and even internationally. The campaigns for Assassin’s Creed III, IV and V, Yellow Pages or We Were There for BNP Paribas are examples that demonstrate the creative force of the office. We want to invest in the Paris office to make our work even better for our clients.”
As a result of this move, Sid Lee Paris co-founder and executive creative director Sylvain Thirache will be promoted to the chairman role while co-founder and managing partner Johan Delpuech will take on the CEO title.
Sid Lee Paris will be moving into a new space at some point in 2017 as well “in order to support its growth and accommodate around one hundred collaborators.”
The reasons for the closing are unclear at this time, though an agency spokesperson told us today that it’s part of an effort to turn Sid Lee Paris into a more international agency serving clients all over Europe (most agencies located in France only serve French clients and markets). In a statement, Thirache said, “We dream of building an international agency based in Paris not simply just a French agency only covering France. We are already working on Pan-European, American and Asian projects with our Japanese partners.”
The agency is still determining where the members of its Amsterdam team will end up when the office officially closes on August 31st.
Bouchard added, “The choice to cease operations of our Amsterdam office wasn’t easy to take. The office has contributed greatly to the growth of Sid Lee and we thank all the talent who worked there over the years.”
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
