ecopolis

“Bright, Bright Day…”

Within the Celebration of the 75th Anniversary of Great Master of World Cinema Andrei Tarkovsky and the 100th Anniversary of his Father the Great Russian Poet Arseny Tarkovsky, White Space Gallery, in association with the Tarkovsky Foundation, is to display forty-five previously unseen photographs by the legendary Russian filmmaker Andrey Tarkovsky (1932-1986).
This touring exhibition will coincide with the launch of the book, Bright, bright day, published by White Space Gallery and the Tarkovsky Foundation, as well as the release of a limited edition portfolio of polaroids.

This show pairs Tarkovsky’s polaroids with projected scenes from his movies, emphasizing the total aesthetic vision that pervaded all aspects of his creative life. Many of the polaroids that were created in Russia complement and extend the personal imagery of the film Mirror (1974). Equally rewarding cross-fertilization is apparent in the images that were taken in Italy while he was travelling with Tonino Guerra and preparing Nostalgia (1983). Indeed, from when Michelangelo Antonioni first gave Tarkovsky the Polaroid camera as a gift, in the 1970s, it rarely left his side. These events, and others celebrating the 75th anniversary of the filmmaker’s birth, including screenings at the Curzon Mayfair (7-13 Dec), are part of the Tarkovsky Festival in London (Nov 07- Jan 08).

“Bright, Bright Day…” Tarkovsky Polaroids Exhibition

22 November 2007 – 20 January 2008
White Space Gallery, St. Peter`s Church, Vere St., W16 0D0.

Il MAU – Museo d’Arte Urbana di Torino è il primo progetto in fase di concreta realizzazione, in Italia, avente come scopo il dar vita ad un insediamento artistico permanente all’aperto collocato all’interno di un grande centro metropolitano, con il consenso ed il contributo fondamentale degli abitanti.

Il nucleo originario del MAU è sito nel Borgo Vecchio Campidoglio, un quartiere operaio di fine’800, miracolosamente salvatasi dagli sventramenti operati dal Piano Regolatore del 1959, che ha mantenuto pressoché intatta la sua struttura a reticolo costituita da case basse con ampi cortili interni dotati di aree verdi, suddivise da vie strette, tale da farne un “paese nella città”.

Tra il 2002 ed il 2007 sono state prodotte le opere murali di Salvatore Astore, Enrico De Paris, Sergio Ragalzi, Angelo Barile, Theo Gallino, Antonio Mascia, Claudia Tamburelli, Santo Leonardo, Giorgio Ramella, Roberta Fanti, Daniela Dalmasso, Vittorio Valente, Andrea Massaioli , Antenore Rovesti, Bruno Sacchetto, Alessandro Gioiello, Gianluca Nibbi, Alessandro Rivoir, Matteo Ceccarelli, Pasquale Filannino, Marco Bailone, Paola Risoli, Fathi Hassan, Gaetano Grillo. Sono stati inoltre restaurate e parzialmente rifatte opere murali di Alessando Rivoir, Enzo Bersezio ed Antonio Carena.

Sabato 17 novembre 2007, nell’ambito delle iniziative di Contemporary Arts Torino Piemonte, il MAU – Museo d’Arte Urbana di Torino inaugura ufficialmente le opere murali realizzate, tra il 2005 ed il 2007.

Sabato 17 novembre 2007

MAU Museo d’Arte Urbana Torino

dalle 11 alle 13.30 con punto di incontro in via Musinè 19

I LOVE TECHNO
10 NOV 2007.
FLANDERS EXPO.
GENT. BELGIUM

Enzimi offers space to talent and assists the natural outcome of creative processes. We want to bring projects together, and share them, make ‘em real. Starting from 2009 in the Old Slaughterhouse area in Testaccio in Rome near the Old Pelanda, a huge cultural production centre will raise aimed to sustain new talents. The centre will be a 4000 square meters area hosting recording studios, video post production, sets, ateliers for artists residences, media centres and multifunctional spaces.

Enzimi2007 is the starting point of a permanent platform developed with the specific goal to develop original projects. A real and virtual space to link emerging worlds and to give value to look for new ideas, to increase quality and innovation in your area and to create opportunity to grow up and change.

“Talents out!” is our call for anyone who wants to pump up this process. This is your city, this is your time, let’s come outside! This year Enzimi is not occurring in the middle of September but at the end of November to give you all the opportunity to participate. Our goal is to let projects be born and give ‘em time to grow up and gain a major strength than that a single event can offer.

Some of projects you’ll submit are going to be presented in November, whereas others will be carried on and others still, thanks to enzimi platform, will find autonomous life in the Testaccio space. The choice will be determined by different factors: originality, feasibility, openness, the absence of self-refence, the wish to involve, the ability to use the city in a brand new way paying attention to social aspects and sustainability and to the wish to stimulate and to develop happiness.

Enzimi is meant as a continuous drive towards viral ideas, their changing quality and their ability to move, generate and regerenate possibilities. It is a thrust necessary to anyone who wants to questions oneself, who is curios now, and wonders about tomorrow. It is the driving force for those who can interpret their own time and environment. Of those who are sure of their own talent and want to get to know the others’.

TALENTS OUT!
Submit your project.

With Tokyo once again in the grips of Autumn, it is time for the third Design Tide Exhibition, which this year has its main site in the auditorium next to the National Stadium. This historic complex was constructed for the 1964 Olympics and now 40 years on it will play host to a jamboree of design. The exhibition will show work from the fields of interior, products, graphics, fashion and art.

The basic theme for this year’s DesignTide is going to be “PLAY.” Like for Dainippon Type Organization experimental typography performers who disarticulate or combine Japanese characters and alphabets into unique new typography.

Furthermore serious play is not a paradox when it comes to design. “PLAY”is what gives birth to transformations that transcend the imagination, and heartful encounters with new acquaintances. DesignTide will be there, with a field of design that makes spectators want to come out and be “PLAY”ers.

Date : 31th October (wed) -4th November (sun), 2007
Area : Aoyama,Harajuku,Shibuya,Roppongi ,Marunouchi , Tokyo

Main Site: 10-2, Kasumigaoka-cho, Shinjuku-ku, Tokyo. Within Kokuritsu-Kyogijyo [National Staduim], closest entry is Yoyogi Gate.
OPEN 10:00 CLOSE 20:00 (11.04- CLOSE 17:00)
Entrance fee: 1,000 yen (one ticket for all 5 days).

Moritz Waldemeyer Pong Table is a dining table design that celebrates the early innovators in the field of personal computers and computer games. The table is made of corian and it has thousands of LEDs integrated in the table surface. Activated by two track pads it recreates the classic “Pong” game. When the game is not in use, none of the technology is visible just leaving the clean minimalist lines of the dining table.

Tide Think MOVIE公開中!!今年スタートするオフィシャルムービープロジェクト”Tide Think MOVIE”は映像コミュニケーション作品として出展されます。
今年は「PLAY」をテーマに自由な発想で、注目される気鋭の映像クリエイターたちがDesignTideの15秒のオフィシャルショートムービーを競作!!
このムービー作品はオフィシャル映像作品として、メイン会場で発表上映されると同時に原宿と渋谷にある街頭ヴィジョンやWEB、ケータイサイト等でオンエアされ、会場エリアやオンライン上から世界に向けて、鮮烈なヴィジュアルメッセージをパワフルに送り出してくれることでしょう!!

http://www.designtide.jp

What is an arcade? In its classic sense, the term denotes a pedestrian passage or gallery. Benjamin quotes a passage from the Illustrated Guide to Paris of 1852:

“These arcades, a recent invention of industrial luxury, are glass-roofed, marble-panelled corridors extending through whole blocks of buildings, whose owners have joined together for such enterprises. Lining both sides of the corridors, which get their light from above, are the most elegant shops, so that the arcade is a city, a world in miniature, in which customers will find everything they need”. (Arcades Project, 31)

The arcades are, certainly, a “primordial landscape of consumption”. Their shop-windows with agglomerations of discrete objects seductively displayed, also represented the apotheosis of the commodity as fetish, temples built for the apotheosis of the commodity, yet at the same time offered the passer-by images of a dream-world beyond the confines of the existing society: the “desire for pleasure” becomes a “form of resistance”. And social vision.

To celebrate the opening of new Hermès Boutique within Selfridges‘ new Wonder Room at Oxford Street, artist Beth Derbyshire created an object of wonder.

The installation consists in two large magic lanterns, installed into the Hermès‘ window until the end of October. These lanterns, one moving clock-wise and the other anti-clock-wise contain hidden message, emitted through light projections :

The following are the quotations as they appear clockwise:
- TO WONDER IS TO BEGIN TO UNDERSTAND (José Ortega y Gasset)
- MAN HAS TO AWAKEN TO WONDER (Ludwig Wittgenstein)

and anti-clock-wise:
- TO UNDERSTAND IS TO BEGIN TO WONDER
- TO WONDER MAN HAS TO AWAKEN

As the lanterns revolve like a Thaumatrope , the sentences keep running back again, and reappearing with a distinct grammatical break, while the persistence of vision and the broadcasted soundscape unfold a fluid space in time to discover further narrative interaction. New language-games, as we may say, come into existence.

Plato calls “wonder” (thaumazein) the origin of philosophy. Aristotle speaks of aporia at Metaphysics: He regards Aporia not only as the beginning of philosophical inquiry, but, as importantly, also as the method by which the inquiry proceeds.

Beth Derbyshire aporetic installation expands beyond the viewing or auditory space : It explores public/personal desire placing individual expression/messages in the urban/outside space of a World of passers-by. The vision becomes an impasse experience: A “Social Event”, that happens in between.

The Chicago retailer Gordon Selfridge opened his English store in 1909 and extended it westwards in the 1920s, doubling its size. The Americanised classical style denoted commercial confidence, permanence and grandeur. London had seen nothing like it before.

In 1934 Luigi Pirandello was awarded with the Nobel Prize for Literature to “For his bold and ingenious revival of dramatic and scenic art”. Celebrated Italian artist Francesco Vezzoli will present a restaging of Così è (se vi pare) or Right You Are (If You Think You Are), the renowned play by Luigi Pirandello in the rotunda of the Solomon R. Guggenheim Museum and commissioned byPERFORMA 07. .

Ed ecco, o signori, come parla la verità! Siete contenti?
An extraordinary cast of top-billed actors have responded to Vezzoli’s visionary approach to Pirandello’s jewel of a work, Right You Are (If You Think You Are) that implicates the audience in its examination of celebrity, and that points also to the relativity of truth, the necessity of illusion, and the instability of the human persona: io sono colei che mi si crede.

Written and produced in 1917, 18 june at Teatro Olimpia of Milan, Pirandello’s timeless “Così è (se vi pare)” examines the fundamental ambiguity of truth, and the seductive powers of language in conjuring up a female character who may never fully appear amongst the actors on stage as they obsessively dissect her attributes and identity. Rumor and celebrity mongering become the substitute for a deeply examined life, and Pirandello, as does Vezzoli in his own art, points to these empty vessels as a means of drawing attention to existential and humanist concerns. Credits: A PERFORMA Commission, Produced by Gagosian Gallery, New York, Co-produced by PERFORMA in collaboration with the Solomon R. Guggenheim Museum

Francesco Vezzoli at Solomon R. Guggenheim Museum
October 27, 2007
at 10 pm.

http://07.performa-arts.org/calendar.php

In June 1943, Frank Lloyd Wright received a letter from Hilla Rebay, the art advisor to Solomon R. Guggenheim, asking the architect to design a new building to house Guggenheim’s four-year-old Museum of Non-Objective Painting. The project evolved into a complex struggle pitting the architect against his clients, city officials, the art world, and public opinion. Both Guggenheim and Wright would die before the building’s 1959 completion. The resultant achievement, the Solomon R. Guggenheim Museum, testifies not only to Wright’s architectural genius, but to the adventurous spirit that characterized its founders.

The Panasonic World Solar Challenge is a biennial event based on a competitive field of solar cars crossing the Australian continent powered by nothing but the sun. Teams from 17 countries are required to research, build and design vehicles capable of completing the 3000km journey from tropical Darwin in the Northern Territory, to cosmopolitan port city Adelaide in South Australia. “But this really is not just about who is the fastest, it’s more about energy efficiency and management,” said race coordinator Chris Selwood

In 1982 the world’s first solar car, dubbed Quiet Achiever, was driven across Australia, from Perth to Sydney, in 20 days. At the wheel was Hans Tholstrup, the Danish-born adventurer who went on to create the Panasonic World Solar Challenge (PWSC). Hans had participated in motorsport for years, especially car rallies, but the oil crisis of the 1970s inspired him to continue to drive on the strength of sunshine. The first Challenge in 1987 saw 23 cars from seven countries compete, with General Motors’ Sunraycer winning the race in 44 hours, with an average speed of 67 km/h. Fast forward to 2005 and the winning vehicle ‘Nuna III’ had an average speed of 103 km/h, with a maximum recorded speed of 147 km/h. Aerodynamics and vehicle weight are obviously key components of a solar car’s speed and much advancement has been made in these areas.

Materials used to build solar cars have changed and evolved dramatically since the first Challenge. Composite materials used in the building of aeroplanes are heavily used these days. The vehicles now utilise materials often used in the space industry for construction of spacecraft and satellite systems, which have to be both lightweight and strong.