There’s so much more i’d like to write regarding the PHotoEspaña festival which runs in Madrid until July 28. Time has come to cover other exhibitions and artistic events i’ve visited more recently. However, i can’t turn the page without mentioning this little fellow playing as ghetto policeman. Almost every mainstream Spanish newspaper selected this image among those offered by the press kit to illustrate their coverage of the festival.
The portrait was made by Henryk Ross, a Polish Jewish photographer who was employed by the Department of Statistics for the Jewish Council within the Lodz ghetto during the Holocaust. Ross documented everyday life in the ghetto while staying officially in the good graces of the German occupier. Before the closure of the ghetto in 1944, Ross buried his negatives in the hope to leave a record of the martyrdom.
I found this edition of the PHotoEspaña festival amazingly good. One of the most thought-provoking shows, Committed Places, Topography and the Present, displays the work of ten photographers who use the genre of topography photography as a medium to go beyond the representation of physical places and reflect on a series of social, historical or political issue. These photographers know how to work their public: first you grab their attention with a spectacular or intriguing image then you tell them the story that lurks behind the print. Some of the participating artists were familiar to me (Geert Goiris , Walter Niedermayr and Taryn Simon) but i discovered other photographers worth a mention and some praise:
Beate Gütschow, S #22
The show opens with Beate Gütschow‘s puzzling B&W S series (the S is short for Stadt, or “city”). What looks like vaguely familiar, yet slightly post-apocalyptic, urban spaces are in fact digital assemblages of details from the artist’s archive of images of buildings, people, and concrete structures seen in Chicago, Los Angeles, Sarajevo, Kyoto and other urban environments.
The depressing urbanscapes are inhabited by small human figures who are actually the only element we recognize: they are mostly tourists, homeless people or drug addicts.
From the series 3.16
On March 16, 2003, Spanish Prime Minister Jose Maria Aznar, UK Prime Minister Tony Blair and US President George W. Bush met in The Azores (Portugal) to reconfirm their intention to continue the war on terror that took a stern turn after 9/11. The distressing images of the New York tragedy have been broadcast over and over again on TV in all their spectacularity and pathos. This stress put on the importance of the deaths occurred in New York is somewhat at odds with the abstract images of fireworks diffused by the same tv stations to illustrate the Gulf War. Augusto Alves da Silva went to the Azores and shot eleven photographies between 7 am and 7 pm. 3 as each of the planes of Blair, Aznar then Bush landed, the others were taken before and after. As in 1991, the massacre that was decided on this meeting is not shown. Instead we have the idyllic images of the Azorean landscape.
Simon Starling: One Ton II, 2005; installation view, Turner Prize 2005, Tate Britain
I almost missed what is probably the most fascinating piece of the exhibition: a series of 5 identical medium-size images. Simon Starling‘s One Ton, II aims to raise our awareness on energy consumption and in particular the huge amounts of energy used to produce tiny quantities of platinum.
Both the subject matter and its mode of production strikingly allude to the fact that one ton of ore, mined from the South African open cast mine pictured in the images, was needed to produce Starling’s five platinum prints.
One Ton, II suggests also that art cannot be totally dissociated from the complex networks of historical, economic, and geopolitical forces that bring it into existence.
The Borgo Pass, 3. From the series The Travel of Jonathan Harker
Themain (albeit invisible) protagonist of Joachim Koester‘s pictures is Count Dracula. The photographer embarked on a trip to the Bargau Valley (Transylvania), the very location where Bram Stoker situated Dracula’s Castle, Jonathan Harker‘s ride against the wolves and the final crumbling to dust of the nasty vampire. Stoker never visited Transylvania, he researched the setting of his novel in the comfy environment of the reading rooms of the British Museum.
The Borgo Pass, 2. From the series The Travel of Jonathan Harker
Koester’s photos invite us to a journey that roughly follows the steps of Jonathan Harker but has more to do with suburban sprawls and kitsch tourist industry than ghoulish “undeads”. Instead of the “bewildering mass of fruit blossoms” described in the novel, what can be find at the outskirts of Bistrita is more like a blossoming of big suburban houses, not much different than the ones you can see anywhere else in the world. The photographer proceeded to BorgoPass where he met with decaying remains of the Communist era and ended the trip at the Hotel Castle Dracula located where the Count’s castle is in the novel and built in the ’80s to tap on the touristic appeal of the region’s most illustrious inhabitant. At the time of Koester’s trip the area was “haunted” by scandals involving illegal loggings which were plaguing even the most remote mountaintops and leaving treeless spots in the landscape. A situation which obviously hints less to any evocation of a fictitious characters than to the transformation of the environment by the forces of market economy.
An at least equally sinister place, The Barker Ranch, located inside the Death Valley National Park in California, was caught by the lens of Joachim Koester. The isolated place gained fame for being the last hideout of Charles Manson and his “family” during and after the Los Angeles murder spree which saw the death of 8 people, including Roman Polanski’s wife Sharon Tate.
The exhibition text explains that when the “family” was not roaming the desert in dune buggies, they would look for an entrance to a subterranean world that would serve as their shelter during the upcoming apocalypse. The photographer evokes the connections between the Family’s dwellings and western-style sceneries. The Spahn Ranch, where Manson and his group of followers lived before Barker, was a ramshackle movie set for westerns. In fact most of the Family meals were prepared and eaten in the former prison. As for the Barker Ranch, it was a classic hideout in a region which used to be populated by prospectors, gold seekers, scientologists and ghost towns. Most of the film rumoured to have been shot during the Family stay at Barker Ranch has disappeared
The dilapidated site has been left vacant since the departure of the Family.
29 Palms: Security and Stabilization Operations, Graffiti
In 2003, An-My Lê was granted permission to photograph U.S. military training exercises in preparation for deployment to Afghanistan and Iraq. The series 29 Palms takes its name from the Marine base in southern California’s Mojave Desert where Lê photographed, in her distanced documentary style, American soldiers both rehearsing their own roles and playing the parts of their adversaries. Their practice includes dressing as Iraqi police and tagging former military housing with mock anti-American graffiti.
Found this video about her work on you tube:
Peter Piller collects images he finds in the filing cabinets of regional newspapers, police archives or other more-or-less public sources. By rearranging them in series and displaying them in frames he gives them a new purpose and a new meaning.
Autowäsche 7
Von Erde schöner, the series he is showing in Madrid, has its origins in the archives of a company which, in the 1980´s, was seeking to commercially exploit the pride of German house owners. Colour aerial photographs of single family homes and the surrounding property were taken and offered, neatly framed, to the respective owners. In 2002, Piller came into the possession of 20,000 negatives of the pictures.
Unlike the company that often offered just a larger detail of the photo, avoiding unattractive things in the surroundings to make the house appear more attractive, Piller always uses the entire picture of the negative. By refraining from intervening in the image, interesting details emerge. Excavation or the foundations of another house under construction can be seen, for example.
Verbindungsbilder 1, 2002-04
Piller arranged the aerial photographs according to the various criteria: some have shut Venetian blinds and other features indicating that the occupants are not home, others come with swimming pool, or show a person in front of house, birds are flying another series, etc. Of course, none of these elements played a role when the photos were originally taken.
I must be the most frustrated blogger i know. Well, i don’t know that many bloggers but i can tell you that being in China is both an endless source of surprises and enthusiasm and an extremely upsetting experience, courtesy of the Great Firewall of China. Yesterday i could still painfully access my blogging platform through a proxy. Today it’s over and after having cried on my favourite puppet shoulder, i had to resort to some complicated solution to put this text online. Enough moaning!
One of the best discoveries of PHotoEspaña was Descubrimientos PHE, the Festival’s portfolio review and launching platform for new talents in international photography. This year the exhibition highlighted 70 photographs coming from 42 countries. There were some amazing photos. One thing i noticed is that the interest for desolated interiors of ex-Soviet countries and China speedy urbanization landscapes is far from fading away.
In City of Ambition, we follow the photographer on a trip to one of the largest cities in the world, yet one we might never have heard of: Chongqing. The booming economy lead to the mushrooming of construction sites and cranes everywhere. Kuyas parallels this situation to the one that Manhattan lived in the very beginning of the 20th century – when it was being built. That’s how the photo series came to be named after a 1910 photograph of the young skyscrapers of Lower Manhattan by Alfred Stieglifz, City of Ambition.
The photographer writes: The immense size of the city, heat, humidity, fog, dust and traffic turned this project into an adventure. Using a 4×5 inch view camera forced me to work slowly. Travel logistics required me to limit my equipment. I worked with color negative film and restricted myself to one exposure per image. After developing the film and making contactsheets I scanned all selected material. I like to work hybrid because it gives me more control over the result.
And now for something totally different, Ingo Taubhorn started to explore life of men wearing Die Kleider meiner Mutter (My mother’s clothing) in the ’90s.
The winner of Descubrimientos PHE is rewarded with a solo show at the next edition of PHotoEspaña. Last year’s winner, Harri Pälviranta, was presenting Battered upstairs. The disturbing photo documentary, inspired by crime-scene photography (all the way to WeeGee) and police pictures, focuses on the physical marks left on the face and body of men who have engaged into a bit of a fight in public space.
Battery and street fights are every night activities during the weekends in Finland. People have a strong tendency to get intoxicated whilst partying and, once drunk, people are released from their inhibitions. Aggression turns into physical acts, to direct violence.
There is a social awareness of this topic in Finland, the issue is recognized and is considered to be a severe social problem. However, the discussion has mainly literal dimensions; it appears in news headlines and is discussed in seminars. But there are no images of these events.
Too brutal for squeamish me.
Descubrimientos runs until July 27 at Complejo el Aguila.
Hola! I’m in Madrid stuffing myself with the sublime tortilla de patatas and checking out the projects developed this month at Medialab Prado as part of the now illustrious Interactivos?workshop. The theme of this edition is Vision Play, the public presentation is tomorrow June 14 at 6.30 pm and it’s going to be extremely good.
Meanwhile the Photo Espana Festival is all over the city. Here’s just an appetizer from one of the many exhibitions i’ve seen today:
From the press release: The Mennonite communities in America work the land and lead simple lives, with no cars, electricity or any other modern conveniences. All of this is an expression of their understanding of the Christian faith, and they guard their privacy extremely jealously, totally isolated from the outside world. Currently, there are Mennonite communities in 82 countries, with over a million and a half members. The members of this community are, as the artist says, “good people, united by a strong spirituality that is never mentioned and yet is perceived at all times. Life in the community turns mutual respect and assistance into something that is completely normal, routine. They are reserved men and women, but if they empathise with you they will open their hearts to you.” The atmosphere in the Mennonite communities, not unlike that of a Western film, is pervaded by the philosophy of non-violence.
Curto has something of a traditionalist himself. He keeps using the Nikkon 801 AF, 35 milimeters his mother gave him almost 20 years ago. He doesn’t use a tripod, nor does he require the help of an assistant. He takes only one picture in each situation. Using a digital camera would therefore make no sense to him.
I’m back from New York for more than a week and getting ready for new adventures in little Europe. Time to turn a page on the transcontinental trip by throwing in a couple of posts the best exhibitions i saw while i was in Manhattan. Some of them are still up till the end of the month, others have already closed their doors. Here we go…
In the collective exhibition AMERIKA: Back to the Future, David Herbert, Anthony Goicolea, Marcus Kenney, Jennifer and Kevin McCoy play with American icons. The artists vision is somewhat dark, critical (how could it not be) but often humorous. Starship Enterprise is re-visited by future cavemen, Mickey Mouse goes on a size-zero diet and a burnt-down chain retailer’s suburban storefront aimlessly rotates on a plate.
Marcus Kenney, The First Americans, 2006
My favourite by far were Marcus Kenney’s assemblage of discarded and old magazine clippings, book illustrations, old receipts, stamps, wallpaper etc. to create nostalgic imagery dealing with contemporary issues. The stars of his compositions are weird children, young women setting foot on distant planets or a girl walking on crutches painted with the motifs of the U.S. flag, etc. A closer look reveal the figures of U.S. presidents and American natives. The colourful and (at first sight) cheerful collages are hinting at some of the pages of American history which do not tend to make its citizens very proud.
I walked to the edge of the art Chelsea area to see Actus Reus, Tamara Kostianovsky‘s solo show. Ready to be butchered beef carcasses were hanging on hooks. Disturbing and so “life”-like that the gallery almost smelled of meat, the animals were made out of discarded human clothes.
Actus Reus is the second part of The Proper Animal, a three-part multidisciplinary program comprised of three solo exhibitions by artists who utilize sometimes disturbing animal iconography to bring ethical considerations into play. The next episode, a show by Julian Montague, looks equally fascinating and as it will focus on spiders i suspect it will be equally repulsive as well.
I got to discover the work of Dutch collective Antistrot by chance. I was in the building where they are having a solo exhibition to see another show. I happened to take the wrong corridor and enter the wrong gallery. That was for the best. Wild and powerful styles manage to cohabit almost peacefully on Antistrot’s paintings: animals you’d see on the walls of your favourite city, gangster faces you encounter mostly in fanzines, monsters like you’d get in a fairy tale without happy ending and busty girls being well… mostly very busty.
Ich Möchte Fliegen Können, 2008
Current members of Antistrot are Paul Börchers, David Elshout, Johan Kleinjan, Silas Schletterer, Michiel Walrave and Bruno Ferro Xavier da Silva, with additional help from Charlie Dronkers.
Shot in coastal waters and regions as far apart on every aspect as Australia, Japan, Antarctica, Kuwait, Iraq and California, An-My Lê‘s photographs examine intersecting themes of scientific exploration, military power, environmental crises, fantasies of empire and the vast ungovernable oceans that connect nations and continents.
An-My Lê, Target Practice, USS Peleliu, 2005
An-My Lê, Oden, Swedish Ice Breaker, McMurdo, Antarctica, 2008
Although the themes and settings are deeply grounded into reality, the images give an eerie feeling. The structures, military equipment, boats and landscapes captured by the photographer seem almost too big and out of this world to be true.
Shuli Hallak‘s photographs document cargo in its state of transit between production and consumption. Almost every manufactured product humans consume spends time in a shipping container, yet most of us have little clue about the process by which goods are actually transported.
New York Container Terminal, 4, 2005
Fascinated by cargos, the photographer embarked on a container ship in New York and traveled to Florida, crossed the Panama Canal and ended the journey in Guayaquil, Ecuador to pick up some bananas.
FotoGrafia, the 7th edition of international festival of photography closed recently in Rome. I’ve already mentioned how much i have been blown away by Paolo Woods’ Chinese Wild West, one of the photo series i discovered at Palazzo delle Esposizioni.
But it was at the Museo di Roma in Trastevere that i got the real shock and awe experience. The museum was hosting the World Press Photo 2008 exhibition. For 50 years, the World Press Photo Foundation is awarding the most striking and representative images that have accompanied, documented and illustrated the events of our times in newspapers.
The Photo of the Year 2007, taken in Afghanistan by Tim Hetherington, portrays an American soldier resting in a trench. All the winners are listed on this webpage but here is my selection (with texts coming mostly from the awards website):
Brent Stirton, Reportage by Getty Images for Newsweek. Evacuation of dead Mountain Gorillas, Virunga National Park, Eastern Congo. Photo First magazine
Stirton’s images narrate how in July 2007, Conservation Rangers worked with locals to evacuate the bodies of four breathtakingly beautiful Mountain Gorillas killed in mysterious circumstances in the Virunga National Park, Eastern Congo. A Silver-Back Alpha male, the leader of the group was shot, three females were also killed. Two of the females had babies and the other was pregnant. It is suspected that the motivation for the killing are political. The local illegal Charcoal industry is economically and politically at odds with conservation efforts in this very poor area. As a result, over 100 Rangers have been killed in the last ten years as part of their efforts to protect the Gorillas of Virunga, one of the world’s most endangered species.
Brent Stirton, Reportage by Getty Images for Newsweek. Evacuation of dead Mountain Gorillas, Virunga National Park, Eastern Congo
For more information, have a look at The National Geographic’s video in which photographers Michael Nichols and Brent Stirton explain the significance of the recent gorilla massacres in the Democratic Republic of Congo.
Brent Stirton, Reportage by Getty Images for Newsweek. Evacuation of dead Mountain Gorillas, Virunga National Park, Eastern Congo
For the past year, Erika Larsen has been traveling the U.S. capturing the hunting experiences of children on camera. In some states across the USA it is legal for children under the age of 12 to hunt if in the company of a licensed adult hunter. The removal of age barriers in hunting follows campaigns by some outdoor organizations to give young people the chance to discover recreations other than computer games.
Erika Larsen, USA, Redux Pictures for Field & Stream Magazine. Josh David Keith (15) straddles a live boar on Boyles Island, Georgia
In the communist era, circus was one of the most popular forms of mass entertainment in Poland. Performers all came from a circus school in Julinek. Since the 1990s, Julinek has been slowly dying. The circus center that once employed up to 1,500 artists and technicians has closed due to financial problems. Rafal Milach tracked down and portrayed retired artists who performed in circus for several decades
Benjamin Lowy made extremely moving portraits of blinded Iraqi detainees awaiting transportation to a prison facility after American and Iraqi forces arrested them on suspicion of insurgent activity, in Arab Jabour, south of Baghdad:
Benjamin Lowy, USA, VII Network for The New York Times Magazine
I would like to end this post on a cheerful note but i can’t.
Five years after the closure of the Sangatte refugee center near Calais, some 500 migrants sleep rough in makeshift shelters on the city outskirts. Many have fled conflict in Iraq, Afghanistan and Darfur, and are hoping to stow away in trains or vehicles heading through the channel tunnel to seek asylum in the UK. Calais overlooks the Strait of Dover, the narrowest point in the English Channel, and is the closest French town to the United Kingdom. In April, the mayor of Calais announced plans to build some basic facilities for migrants on an abandoned football pitch.
Although i tend to spend most of my time inside every single branch of Sephora when i’m in New York, i got to see some pretty interesting exhibitions while i was there. Daneyal Mahmood Gallery is hosting until June 14 an arresting installation and series of photographies by Justine Cooper.
Sally, 2008
Cooper has an unquestionable interest for science. The Australian artist is known for having spent one year snooping around the storerooms of the American Museum of Natural History in New York.
Charles, 2008
According to an interview she gave to Trace blog, the Terminal portraits she is currently exhibiting are inspired by the formal portraitists of the late 19th century and by the scientific work of Bernice Abbott. The stars of Cooper’s photographs are medical mannequins (just like Tomer Ganihar‘s hospital series) and robots. Highly sophisticated, they have been designed to simulate human traumas for training doctors and surgeons.
During her research, the artist found that the personnel charged with the care of the mannequins had humanized these objects into subjects by calling them Sally, Peter, Charles or Mandy. They dress them as if they were about to leave for the Bahamas and even construct a narrative through their care.
Peter, 2008
Also on show, RAPT I is a computer animation created 10 years ago from hundreds of images produced when Cooper voluntarily underwent six hours of MRI (Magnetic Resonance Imaging) scanning (video). RAPT II is a fascinating installation comprised of 76 of the MRI axial scans, printed on architectural film, suspended and aligned to create a 24 foot long floating body. I found very distressing the idea that i was able to pass my hand between the slices of her body.
Rapt II, Detail, 1998
Rapt is what the artist calls a universal Self Portrait, originally posing the question of if and how new technologies shift the way we can conceive of space, by presenting us with an alternate, elastic interpretation of the body.. “Just as the body is re-codified through medical technology, so its internal spaces and brute physicality are remapped and made accessible in these works. Living flesh is translated into malleable data”
Just spent 3 days in Rome to check out FotoGrafia, the 7th edition of international festival of photography which runs until May 25th in several venues throughout the city.
In a time when most photo festivals focus on urbanity, chaos or sustainability, the theme chosen by FotoGrafia this year is very brave: “Seeing normality. Photography portrays daily life”.
First stop was the Palazzo delle Esposizioni there were several shows by young photographers but one of the photo series was so striking (and so far away from what you and i would regard as “normality”), i spent the rest of my stay in the Italian capital obsessing about it. Chinese Wild West, a collaboration between photographer Paolo Woods and journalist Serge Michel, follows China’s industrial neo-colonialism in African lands.
As they explain: To quench its thirst for oil, its hunger for copper, uranium and wood, Beijing has sent out its state companies and its adventurous entrepreneurs to conquer Africa.
For the 500.000 Chinese who have emigrated to the ‘dark continent’ there is the promise of a 21st century Wild West. Some have struck gold and run large conglomerates that span whole regions of Africa, others are still selling their cheap goods on the burning hot roadsides of the poorest countries in the world.
For the Africans, the arrival of the Chinese is perhaps the most important event of the forty years of independence. The Chinese do not look like the former colonialists. They build roads, dams and hospitals and win over the people. They speak neither of democracy nor transparency and they win over the dictators.
Woods and Michel conclude their presentation of the work with these words: These are rare images: Beijing wants to keep a low profile for its conquest. But though it remains largely unexposed these photographs portray a phenomenon, a new dimension of globalization, that threatens to leave the West behind.
The amazing photos are accompanied by a short explanatory text. A selection:
Nigeria, Lagos, 2007
A festive dinner for the meeting of the association of Chinese entrepreneurs of Lagos that takes place monthly at the restaurant “Mr. Chang”. The responsible of the association are the new generation of Chinese businessman in Africa. They are often very young and their companies are booming. The waiters are dressed in Chinese costumes directly imported.
Nigeria, Lagos, 2007
Nigerian workers and a Chinese technician organize the production at Federated Steel. The Chinese expats, who are often very qualified, are charged with forming the Nigerians as well as keeping up the very intense work rhythm. Even if the Chinese often speak little more then a few works of English they occasionally manage to create a complicity with their African colleagues.
Congo, Imboulou dam, 2007
On the building site of the Imboulou dam, Republic of the Congo, 200km north of the capital Brazzaville. In the foreground a Chinese worker of the China National Mechanical & Equipment corporation (CMEC) company, which in 2001 has obtained the contract. With its 120 megawatts, this power plant will double the national production of electricity and will give light to a large part of Congo. 400 Chinese technicians and qualified workers supervise a Congolese workforce of a thousand man, paid 3 dollars a day, that disappear as fast as they can find a better paid job. This, in part, explains the dam’s construction delay that has to be absolutely terminated by 2009, the year of the next Congo elections. CMEC requires the Chinese workers to wear yellow and the Congolese blue hardhats.
Congo, Conkouati National Park, 2007
In the Cotovindou logging concession a Congolese worker for the Chinese timber company Sicofor saws down a 22-meter moabi tree that will be loaded the same day on a truck bound for Pointe Noire. From there it will be embarked for China. It will probably end up as luxury furniture in Europe or the States. Moabi (baillonella toxisperma) takes about hundred years to reach maturity. Its fruits are edible, its bark has medical applications and the oil its seeds produce is very sought after on the African markets. The droppings of elephants, that love the Moabi fruits, are the main mechanisms for spreading the seeds and therefore of its reproduction. Due to poaching, elephants are getting rare, due to logging Moabi is getting rare. In the Congo forest elephants and Moabi could disappear at the same time. Moabi has been included in the red list of IUCN (International Union for Conservation of Nature and Natural Resources) in 2004.
Nigeria, Lagos, 2007
Mr. Wood was born in Shanghai in 1948 and arrived in Nigeria at the end of the 70’s were he started an industrial empire that includes today about 15 factories with more then 1600 workers, construction companies, hotels and restaurants. He is an official adviser to the president and has obtained the title of African chief and the authorization to use police cars as his own which helps in the monstrous Lagos traffic jams. He uses as well the police as private bodyguards, like here on the construction site of 544 villas built at record speed on the Lekki peninsula near the headquarters of the Chevron oil company.
Congo, Brazzaville, 2007.
The Savorgnan de Brazza high school is the most respected school in the Congolese capital but is in very bad need of repair. Jean de Dieu Malanga, professor of Chinese, is giving the students of the second year their annual examination. He himself has studied in China during the 80’s and makes a living as a translator for the Chinese bosses at the numerous construction sites besides his work as a teacher.
The accusations of photo retouching could have been devastating to Ogilvy, Dove and Unilever. Today, all have released statements along with Dangin, the photo retoucher and Annie Liebovitz, stating that the women in the Real Beauty campaign were not retouched. Dangin, however, has admitted to working on the Dove Pro-Age campaign but only to remove dust and provide color correction – neither of which destroy the integrity of the women in the photographs. So, world of advertising and BMA readers – you can all rest assure that Dove and it’s Real Beauty as well as Pro-Age campaigns do exactly what they are supposed to… give real women a sense of inspiration and beauty.
I have to admit, I’m a pretty big fan of the Sony spots, even including the momentarily controversialplay-doh spot. When I first saw the clips on YouTube hyping this new spot from Sony, i have to say I was a bit excited. The continued buzz about the spot kept me eager, although it also got my hopes up.
Well, the newest Sony/Fallon UK spot is finally out, advertising Sony’s line of digital cameras with the tag “images like no other.” The similar tag, similar beautiful cinematography, and an excellent soundtrack make for another impressive spot. Not to mention the fascination and joy at the idea of Miami being flooded with foam.
More info, including a download link for the spot, which will air worldwide beginning in May, at Sony’s website. Enjoy!
div xmlns=http://www.w3.org/1999/xhtmlpCheck out these photos and video clip of the launch. Beautiful.nbsp; Reminds me a little of Cai Guo-Qiang. His exhibition at the Guggenheim now is one of the most amazing exhibitions I’ve ever seen. Be sure to check out his video performances.nbsp; Very dreamy./p
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.
