Hasta La Creative!

Media
McDonald’s

Advertising Agency:DPZ&T, Brazil
General Creative Director:Rafael Urenha
Executive Creative Directors:Sergio Mugnaini, Marcello Barcelos
Creative Director:Daniel Motta
Creatives:Daniel Motta, Giampietro Zanon, Raphael Lucone, Thomaz Dantas, Bruno Landi, Vinicius Curi, andré_Leigo
Account team:Daniel Jotta, Eduardo Brunoro, Fabiana Sanches, Rafael Lopes, Amanda Laghi
Media:Paulo Ilha, Antonio Rodrigues, Amaury Magalhães, Bruno Sabor
Planning:Fernando Diniz, Rodrigo Santini, Fernanda Felicio
Approval:Roberto Gnypek, João Branco, Gabriel Ferrari, Eloisa Zerneri
Rtv:Ducha Lopes, Karen Nakamura, Brunno Cunha
Producer:BossaNova Films
Post Production:BossaNova Films
Directing:Chico & Mosca
Cinematographer:Pedro Mosca
Executive Producer:Sandra Othon
Editing:Gabriel Lampman
Final Artwork:Rodrigo Azambuja
Soundtrack:Paulinho Corcione, Lucha Libre
Sound Producer:Lucha Libre Audio
Sound Final Artwork:Lucha Libre Audio
Executive:Vanessa Wallner, Dani Celer
Account:Vanessa Wallner, Dani Celer

Tag Heuer

Production:Freestudios
Creative Director:Olivier PIctet
Art Director:Suleyman Yazki
Designer:Suleyman Yazki
Compositors:Boris Rabusseau, Julien Andrey

Lego is reviewing its global media planning and buying requirements, putting Carat on alert in the UK.

Toy giant Lego is in review mode.

This morning, Adweek reported on The Lego Group’s global media agency review. Several parties claimed that every major holding company with the exception of Omnicom is in the pitch, which has not yet advanced beyond the first round.

But it’s not just media—the company also recently launched a U.S. digital creative review.

Lego spokespeople have declined to officially confirm either development, stating that they regularly review all partners as a standard business procedure. But several parties have confirmed to us that the digital review is ongoing.

The company works with a variety of shops around the world and typically does not name an agency of record. Products like branded slippers and disabled figures tend to get more attention than traditional campaigns, and its most recent notable spot was this 2014 ad for girls by Union Made Creative.

The reasons for these reviews would appear to be twofold: new leadership and business challenges.

One might think, given the success of the recent Lego and Lego Batman movies, that the company would be riding high. In 2015, it sold 62 billion “elements,” or the equivalent of 102 bricks for every single person currently living in the world.

But the The Lego Group does not appear to profit directly from the movies, and sales in the U.S. (which is its biggest market) were flat last year despite a big marketing effort. Six months ago, former COO Bali Padda took over the chief executive role from Jørgen Vig Knudstorp, the current chairman who is widely credited with saving the traditionally family-run business during his decade-plus tenure.

It’s not clear at this time which agencies are pitching. According to Kantar Media, Lego spent around $85 million in the U.S. last year, and that total was nearly double its domestic marketing budget for 2015.

Hillary Clinton ruffled a lot of feathers Wednesday when she said the data provided by the Democratic National Committee during her run for the presidency was “mediocre to poor.” She also alluded to a conspiracy theory that the Republican National Committee’s own outside data minions helped guide targeting of fake news content disseminated by Russians, contributing to her loss to Donald Trump.

But that’s not where things end. Some Democratic data wonks who dispute Clinton’s claims about the quality of the DNC data operation believe there is a Svengali of sorts whispering in Clinton’s ear, feeding her misinformation about the DNC data machine.

“Clearly someone with an agenda is feeding her bad information for their own personal reasons because it’s personally beneficial to knock down a really good DNC data operation,” said a Washington, D.C.-based Democratic data analyst who spoke on condition of anonymity.

Continue reading at AdAge.com

Piero Manzoni (portrait.) Photo: Helene Bagger

In 1961 Piero Manzoni, the enfant terrible of the avantgarde in the mid 20th century, created 90 small cans, signed them and famously labelled them Artist’s Shit (Merda d’Artista). Each was priced by weight based on the value of gold at the time. The cans have since traveled to art collections all over the world and sold for spectacular sums at auctions houses. Still in 1961, the young artist made Socle du Monde (Base Of The World), a bronze plinth he placed upside down in a field in Herning, Denmark. The piece suggests that the whole world is a work of art. Manzoni created some of his masterpieces in the Danish city when he was the host of local shirt manufacturer and art enthusiast Aage Damgaard. The Herning Museum of Contemporary Art now houses what is probably the biggest collection of artworks by the brilliant iconoclast.

Socle du Monde gives its name to the oldest Danish biennale focusing on contemporary art. The ongoing edition has opened a few weeks ago (i wrote about Breeding a Planetary Community Chicken at the time and then lost control over my days.) I think it’s one of the most aesthetically pleasing art events i’ve attended over the past few years. But because the event is inspired by the masterpiece of a renowned exponent of conceptual art, it is also a biennale that conveys ideas, provocations and moments for reflection. I’ll get back next week with a post discussing these ideas and provocations but right now, here are some visual impressions of the biennale:

Hans Haacke and Yayoi Kusama, Socle du Monde Biennale 2017

Hans Haacke and Yayoi Kusama (detail), Socle du Monde Biennale 2017

Wim Delvoye, Super Cloaca (detail), 2007. Socle du Monde Biennale 2017

Entrance lobby at the Carl-Henning Pedersen & Else Alfelts Museum. Photo and Courtesy: Carl-Henning Pedersen & Else Alfelts Museum

I loved the faucets in the bathroom of the Carl-Henning Pedersen & Else Alfelts Museum

Detail of an ex-school complex designed by Jørn Utzon in 1969. Photo: Jens Wolter

Hesselholdt & Mejlvang, The Invisible Territory (detail), 2017. Socle du Monde Biennale 2017

Hesselholdt & Mejlvang, The Invisible Territory (detail), 2017. Socle du Monde Biennale 2017. Photo: Ole Jørgensen

Chapter 2: Painting with Time and Space: From Zero to the 60’s Avantgarde (exhibition view), Socle du Monde Biennale 2017. Photo: Jens Wolter

Günther Uecker, Socle du Monde Biennale 2017. Photo: Socle du Monde Biennale

Inside the lift of the Herning Højskole, Socle du Monde Biennale 2017. Photo: Jens Wolter

Tower of the Herning Højskole, Socle du Monde Biennale 2017. Photo: Jens Wolter

Mischa Kuball, Translocating ELEVHØJHUS, inside the Herning Højskole, Socle du Monde Biennale 2017. Photo: Ole Jørgensen

Hesselholdt & Mejlvang, The Invisible Territory (detail), 2017. Socle du Monde Biennale 2017. Photo: Ole Jørgensen

Christian Megert, Socle du Monde Biennale 2017

Antony Gormley, The Allotment, 1997 – 1998. Photo: Ole Jørgensen

Terrasse outside the HEART – Herning Museum of Contemporary Art

Heinz Mack. Socle du Monde Biennale 2017. Photo: Ole Jørgensen

Ingvar Cronhammar, Elia, 2001. Photo: Ole Jørgensen.

Previously: Breeding a Planetary Community Chicken.

The 2017 Socle du Monde Biennale – to challenge the Earth, the Moon, the Sun & the Stars remains open until 27 August 2017 in Herning, Denmark.

Source

Grey London has shot a 360-degree video, transporting viewers to a 1953 street party 64 years after the Queen’s coronation day.