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imre is the agency that works, and we’re looking to add a social program manager to our team of experts to support our healthcare marketing division.
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I’m filing this editor’s letter from inside the bustling and international pressroom at the 10th annual DMexco conference in Cologne, Germany. There are 40,000 people gathered here for a concentrated two-day media, marketing and technology conference as well a huge exposition showcasing all types of startups and stalwarts in the ad- and mar-tech space. Adweek…
Next month will bring the latest roll call of advertising industry legends, when the IPA Effectiveness Awards winners for 2018 are declared.
As part of Campaign’s 50th celebrations, Paul Burke presents the second instalment of the best 50 advertising jingles and sonic devices.
This is the story of how we tried to make periods normal. It’s also the story of how we had to piss off a lot of people to make it right for so many more.
The advice we give to young people is bullshit.
Outdoor company will convert all of Network Rail’s ad space into digital screens over the next five years.
The Flipflopi will set sail on Saturday from Kenya to Tanzania.
The winners, including some who did not attend ad school, will showcase their work on 20 September.
Craft beer brand BrewDog has signalled a shift in its marketing tactics. It plans to ditch the ‘shock tactics’ that has brought it much attention, fanfare and, on occasions, controversy for more “responsible” tactics.
Absolut, the Pernod Ricard vodka brand, is taking over a Soho townhouse to create a multi-sensory experience around the porn star martini cocktail.
The news brand measurement organisation has revealed its first digital engagement data.
Guests will sit down to an eight-course tasting menu and get to take home recipes and Moma samples.
REPOST do episódio sobre suicídio, originalmente publicado em 25/9/2017, em virtude do Setembro Amarelo. === O suicídio é considerado um problema de saúde pública no Brasil: de acordo com os números oficiais, 32 brasileiros se matam por dia. Essa taxa é maior do que a de vítimas de AIDS e da maioria dos tipos de …
O post REPOST: Naruhodo #98 – Por que precisamos falar sobre suicídio? apareceu primeiro em B9.
Mais uma semana relativamente tranquila no mundo da música. Um videoclipe aqui, outro ali, uma declaração polêmica de um guitarrista… Apesar de poucas grandes novidades, fizemos uma seleção com o que de mais impactante aconteceu na música nos últimos sete dias. Paul McCartney lança clipe de “Back In Brazil”, filmado em Salvador O maior artista …
O post Clipes de Paul McCartney e Gorillaz, John Legend conquistando o EGOT e outros destaques musicais da semana apareceu primeiro em B9.
Final notes from my visit of the exhibition No Man’s Land. Natural Spaces, Testing Grounds at MUDAM in Luxembourg:
Martha Atienza, Our Islands 11°16’58.4_N 123°45’07.0_E, 2017
Martha Atienza, Our Islands 11°16’58.4_N 123°45’07.0_E, 2017
Hayoun Kwon, 489 Years, 2016
National parks, reserves and other forms of sanctuarization of ecosystems are often used as a measure to protect natural territories from the detrimental impact of human activity. No Man’s Land brought together artworks that explore this issue and invite us to re-examine our relationship with the natural world.
I mentioned some of the works exhibited over the past few days (On thrombolites and other victims of human folly and Arriba! A tropical time capsule in Antarctica) and i wish i’d have been able to do a proper review of the show earlier. No Man’s Land closed last Sunday. It was small but dense with ideas, moving pleas and incentives to rethink the way our (short-term) economic and political interests slowly consume the only planet we have.
Some of the videos and installations exhibited offered surprisingly convincing remedies to our environmental woes, others confronted us with a poignant portrayal of the consequences of our disconnection from the rest of the living world.
Hayoun Kwon, 489 Years, 2016. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. Photo: Rémi Villaggi / Mudam Luxembourg
Hayoun Kwon, 489 Years, 2016 (excerpt)
It has been estimated that would take 489 years to demine the Demilitarized Zone that separates North and South Korea.
489 Years is animated film based on the testimony of a former South Korean soldier who used to be stationed in the D.M.Z. We’re thus literary in No Man’s Land territory. Since only authorized personnel can enter the DMZ, Hayoun Kwon uses animation and the soldier’s memories of his patrols to reconstruct the space.
Over time and in the absence of human activity, nature has taken over inside the forbidden space. Between the guard towers, the fences, the barbed wires and the walls, there are streams and hills as well as animals and plant species that thrive in the strip of land that that divides the Korean Peninsula in two.
The gamer’s FPS (first-person-shooter) perspective and the personal narrative recreate the feeling of a place inhabited by both a unique biodiversity and an anxiety for landmines and other invisible dangers.
Mel Chin, Revival Field, 1991-ongoing
Mel Chin, blueprint for Revival Field, 1990
Revival Field is a phytoremediation experiment Mel Chin undertook at Superfund site <a href="http://Pig’s Eye Landfill, in St. Paul, Minnesota.
The artist used hyperaccumulator plants as a low-cost means of remediating polluted soil. The species planted on top of the waste tip soak up heavy metal toxins like cadmium, zinc, and nickel from the ground through their roots. When the plants are mature they are harvested, dried and incinerated to recover the metals that is then re-sold to cover the cost of the procedure. Chin collaborated with Dr. Rufus Chaney, a research agronomist who had done pioneering research on the subject in a lab but who had so far never had the opportunity to conduct field research on a contaminated site.
The garden demonstrated that ‘green remediation’ could be a successful low-tech alternative to expensive and ineffective remediation methods to reclaim contaminated soil and toxic waste. It also showed that art can have real, healing effects on the environment.
Jennifer Allora & Guillermo Calzadilla, Returning a sound, 2004
Jennifer Allora & Guillermo Calzadilla, Returning a sound, 2004. Photo: Lisson gallery
Vieques is an island off the mainland of Puerto Rico used by the U.S Navy and NATO forces as military testing ground as from the 1940s.
The inhabitants, angry at the expropriation of their land and the environmental and health impacts of weapons testing, organized a campaign of protests and civil disobedience that led to the departure of the U.S. Navy in 2003.
Allora & Calzadilla made a series of works relating to the recent history of this island. One of their videos poetically communicate the interplay between militarism and sound. In Returning A Sound, Homar, an activist, drives around the island on a motorcycle as if reclaiming the territory. The silencer of the vehicle was replaced by a trumpet that echoes the traumatizing sounds of bomb explosions that had shaken the lives of the Vieques inhabitants for decades.
“As artists, we became interested in questions related to the sonic violence that marked this space, as it was exposed to earsplitting detonations up to 250 days out of the year,” explained Guillermo Calzadilla. “The first work we made in that regard was Returning A Sound, which we filmed just after the military lands were semi-opened to the public in 2003.”
Martha Atienza, Our Islands 11°16’58.4_N 123°45’07.0_E, 2017. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. Photo: Rémi Villaggi / Mudam Luxembourg
Martha Atienza, Our Islands 11°16’58.4_N 123°45’07.0_E, 2017
Our Islands 11°16’58.4_N 123°45’07.0_E is a quiet and poignant protest against climate change and the decay of local culture in the Philippines. In this subaquatic procession, men wearing all kinds of historical, religious or folkloric costumes advance slowly against the sea and its shifting currents. Leading the parade is a man dressed as the Santo Niño (the child Jesus, Patron of the islands) and carrying a doppelgänger statue. The silent and mesmerizing march replicates Ati-atihan, a celebration that takes place annually on firm ground.
The underwater parade reenacts some of the violent—both natural and political—moments the local communities have been through: the super typhoon Yolanda, the war on drugs, the exodus to find work overseas, etc. The seabed and the corals that surround the performers are unwilling actors that symbolize the assaults to local ecosystems.
Brandon Ballangée, Prelude to the Collapse of the North Atlantic, 2013. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. Photo: Rémi Villaggi / Mudam Luxembourg
Collapse is an innocent-looking but nevertheless brutal visualization of one of the tangible consequences of the crises oceans are facing. The specimens kept inside the glass jars pilled up in the shape of a pyramid were bought on a fish market. Some are raw fish and seafood we eat, others were caught by mistake but nevertheless displayed by the fishmongers. These sea creatures represent only a tiny portion of the aquatic organisms that inhabit our oceans. The amazing seabed diversity is being impoverished not only by the plastic pollution that makes the headlines these days but also by oil spills, acidification, overfishing and other environmental degradation. This loss is symbolized by some of the glass jars that remained empty of the extinct species they were meant to contain. How long till more empty jars are added? And what will it take for humanity to react and realize the consequence of this relentless erosion of marine biosystems?
More images from the exhibition:
Allora & Calzadilla, Half Mast/Full Mast, 2010. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. Photo: Rémi Villaggi / Mudam Luxembourg
Mark Dion, Mobile Bio Type–Jungle, 2002. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. Photo: Rémi Villaggi / Mudam Luxembourg
Piero Gilardi, Tronchi Caduti, 1990. View of the exhibition No Man’s Land. Natural Spaces, Testing Fields, Mudam Luxembourg, 2018. © Photo: Rémi Villaggi / Mudam Luxembourg
No Man’s Land was curated by Marie-Noëlle Farcy, Marion Laval-Jeantet and Benoît Mangin. The show remains open until 09/09/2018 at MUDAM in Luxembourg.
If you want to see truly awful photos of the exhibition, check out mine on flickr.
Previously: Arriba! A tropical time capsule in Antarctica and On thrombolites and other victims of human folly.
Emoção foi algo que não faltou no mundo do audiovisual nos últimos dias. Na televisão, foi reportado que “American Gods” encontra-se em uma verdadeira e gigantesca crise conforme a produção muito provavelmente perdeu o seu segundo showrunner antes mesmo da estreia de sua problemática segunda temporada. No cinema, enquanto isso, informações sobre a possível saída …
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A Space X anunciou que fechou seu primeiro contrato para uma viagem ao redor da Lua. A empresa de Elon Musk não entrou em detalhes, mas marcou um evento especial para a próxima segunda-feira (17) para revelar mais informações sobre a negociação, incluindo o nome do passageiro e a data da viagem. A viagem acontecerá …
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(TrendHunter.com) These September 2018 tech innovations range from virtual self care apps to health-tracking jewelry pieces. While #SelfCare is a mobile app that helps users focus on their mental health and take time…
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