 |
 |
| THE ORIGINAL? Wrigley’s Orbit White Chewing-Gum– 2005 “Beautiful teeth” Source : Adeevee Agency : BBDO Vienna (Austria) |
LESS ORIGINAL Colgate Max White toothpaste – 2018 “Bring back your white smile but nothing else” Source : Cannes BRONZE LION Agency : Red Fuse Paris, Y&R (France) |
New-media startup Attn just put up a billboard on Sunset Boulevard to get the word out about the new show it is making with Facebook. Somebody had to do it, and it wasn’t likely to be Facebook.
This summer, Attn forged a partnership with Facebook to create the show “Undivided,” joining CNN, Fox News, ABC, Insider, NowThis and others developing digital news programs for Faceook’s Watch streaming video hub. It’s not unusual that a media company would market its own Watch show, but the billboard is the first to promote one of the new news programs. The billboard also illustrates how much media companies hope to reap from appearing on Watch.
“We want to be looked upon as a brand that can play with the big boys,” says Brad Haugen, president of Attn. “Sunset Boulevard is right up there with Times Square, and now we are right up there with a billboard alongside Netflix and Amazon.”
Born in Liberia, along the western coastline of Africa. Having been raised in different cities like Kanchipuram, Mumbai, and finally Pune has added a lot of cultural diversity in his upbringing. Ashish’s life has been a melting pot of experiments and crazy adventures.
The entire process of bringing together several seemingly disparate elements into one interwoven piece of pictorial art that stuns the viewer; It is this that gives him ultimate satisfaction.
Not only studying Photography, Ashish has a background in Mass Media, Advertising and Journalism. He has worked with highly respected photographers like Vikram Bawa, Manjari Sharma and Brian Pineda. He also shoots for Automobile magazines because of his sheer love for automobiles and traveling.
Fashion photography came to him after a lot of experiments and sleepless nights of dabbling in many different genres’ of photography. He has also been awarded the Best Photographer by Jabong Online Fashion Week. He absolutely loves shooting surreal concepts and experimenting with lighting.
“I believe in transforming imaginative ideas into reality. The entire idea of the Human eye and the camera sharing the same principles of physics inspires me to perceive things in a different manner. What makes each one of us different is what we do with our thoughts.” -Ashish Gurbani
Why are you a photographer?
Photography to me came by chance. While I was growing up, I had no certainty of where I was headed and I totally stumbled upon it. The only reason I am a photographer is because I was to use it as a medium to communicate my thoughts and ideas and reach out to audience unaware of certain topics.
Do you remember any decisive moment when you felt ‘I want to be a photographer’?
Yes, the day I was gifted the Canon 550D by my parents, I knew I was definitely doing the right thing. It was about 12 years ago.
Were there any particular role models for you when you grew up?
I wasnt too sure about who my rolemodel was. I was thoroughly guided by Manjari Sharma, then New York based Fine art photographer who was working on her project in Mumbai. She was my answer to the question ‘ What does a photographer really do?’
What steps have you taken to train yourself in photography?
Assistating Manjari Sharma on her project Darshan was my gateway to what photography really is. Post graduation in mass media and journalism, I enrolled myself into a 2 year long diploma course in Fashion & people photography. Post my course completion, I assisted one of indias leading Fashion photographers, Vikram Bawa who really trained me well to understand what running a photography business is really about.
Who was the most influential personality on your career in photography?
There have been quite a few influences in my photography career. but training with Vikram was an eye opening experience. So I would say he has influenced me the most.
How has photography changed over the course of the last couple of decades? Is execution/art direction more important than it used to be?
I have only been in this for nearly a decade now. But yes the evolution is fast paced. Today the cameras companies are pushing the bar higher every six months and this is enabling newer and more creative techniques. While I would say lesser technology is better, in photography its important to upgrade your gear and update your information every few years to stay on the top of your game. About art direction, it plays a very very important role. Infact its these tiny details that really can make or break your concept.
What do you think of the current state of Print Advertising photography in India? Is it at par with the work done worldwide?
The current state of print advertising in India is primitive. The work quality in india is definitely at par with the work done worldwide, while we cant push beyond because a higher percentage of our audience is less educated. Slowly but steadily, we will get there.
Where do you get your inspiration?
I love to to personal projects and experiments with my photography. Apart from that, everyday life is what inspires me.
Was there any time when you wanted to quit photography?
Haha! there are always times when everybody wants to quit. But thats the time I tell myself, these hurdles are just experiences to learn from and grow out of. And thats what I do always.
Any current work in Indian Advertising that you find exciting? Especially Print?
Currently I love the way the indian brands are willing to give the photographer a free hand. no particular campaign thats really caught my eye in India at the moment.
Whats your dream project?
My current project is to do a roadtrip across India with a team of models, make up artists, hair stylists and capture all the cultures from across the country while shooting at some of the most remote locations.
Who would you want to spend a dinner with?
Family!
Whats on your iPod?
Im going back to the basics. Currently listening to the music I grew up with. Pink Floyd, Metallica, Hinder, 3 Doors Down and Oasis to name a few.
Mac or PC?
Mac all the way.
Whats your Instagram Handle?
MY instagram handle is @AshishGurbani
competitive:
Creative Circle:
Our agency client is looking to add a Media Associate to their team.In this role you will monitoring, tracking and verifying spend across multiple bro
Minneapolis, Minnesota
About eight months after Meredith acquired Time Inc., the company announced it has secured new owners for Time magazine. The title will go to Salesforce founder Marc Benioff and his wife, Lynne, for $190 million in cash and is expected to close within 30 days, according to Meredith in a news release. The sale is…
Former media agency chief to chair publishers’ trade body.
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.
(TrendHunter.com) The September 2018 cosmetics trends embrace inclusive marketing, including new skincare and makeup launches from both small and large labels. The products include collaborative projects, new…
No episódio de hoje, vamos falar sobre outras perspectivas de viver, conviver, criar e transformar a partir do Sertão. Neste que é o novo capítulo da nossa série “Futuro Possíveis”, reunimos pessoas com visões inspiradoras para nos mostrar um caminho para ter vida abundante no semi árido. Na mesa, contamos hoje com Alexandre Henrique Pires, coordenador …
O post Mamilos 162 – Futuros Possíveis: As Potências do Agreste apareceu primeiro em B9.
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.
