The sleep of reason produces monsters - Francisco Goya y Lucientes, 1746

The sleep of reason produces monsters - Francisco Goya y Lucientes, 1746

Louis Faurer - Rat Race, 1949

Louis Faurer - Rat Race, 1949

Floris M. Neussus - Untitled Körperfotogram, 60’s

Born in Lennep, Germany, in 1937, Neususs has dedicated his whole career to extending the practice, study and teaching of the photogram_alongside his work as an artist, he is known as an influential writer and teacher on camera-less photography_Neususs brought renewed ambition to the photogram process, in both scale and visual treatment, with the Körperfotogramms (or whole-body photograms) that he first exhibited in the 1960s_since that time, he has consistently explored the photogram’s numerous technical, conceptual and visual possibilities_

Shadow Catchers,13 October 2010 - 20 February 2011, will present the work of five international contemporary artists - Floris Neusüss, Pierre Cordier, Susan Derges, Garry Fabian Miller and Adam Fuss - who work without a camera_

Camera-less photographs were popular with botanical illustrators in the 1840s and ’50s but the process was really taken up in a big way in the 1920s by artists connected with European avant garde art movements such as Da Da, Surrealism, including Christian Schad, Man Ray and Curtis Moffat_a way of exploring new concepts of light, time and space_

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http://www.telegraph.co.uk/culture/photography/8051406/Floris-Neususs-Interview.html

http://beelinetree.blogspot.com/2010/12/floris-neussus-untitled-korperfotogramm.html

http://www.designweek.co.uk/home/blog/from-the-shadows/3019035.article

Picasso’ s maquette for the set of the ballet Parade, a celebrated collaboration that was composed in 1916-1917 by  Erik Satie, Jean Cocteau, Léonide Massine and Serge Diaghilev_
Erik Satie’s ballet Parade was a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev_Satie’s writing for winds and percussion lends itself to an arrangement for woodwind quintet and percussion; an arrangement that keeps the spirit and essence of the work intact_this study includes a historical summary of the ballet Parade and an arrangement for woodwind quintet and percussion_

Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin_Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered “how far” to “go too far” in the circus-like ballet Parade—one of the most revolutionary works of the twentieth century_Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, andpistol, combining them with the art of ballet_Cocteau wrote the scenario for the one-act ballet and contracted the other artists_Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes_later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer_Serge Diaghilev’s Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire_they became a manifesto of l’esprit nouveau or “the new spirit” which was taking hold in Paris during the early twentieth century_Apollinaire described the ballet Parade as “surrealistic,” and in doing so created a term which would develop into an important artistic school_
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ERIK SATIE’S BALLET PARADE: AN ARRANGEMENT FOR …

Picasso’ s maquette for the set of the ballet Parade, a celebrated collaboration that was composed in 1916-1917 by  Erik Satie, Jean Cocteau, Léonide Massine and Serge Diaghilev_

Erik Satie’s ballet Parade was a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev_Satie’s writing for winds and percussion lends itself to an arrangement for woodwind quintet and percussion; an arrangement that keeps the spirit and essence of the work intact_this study includes a historical summary of the ballet Parade and an arrangement for woodwind quintet and percussion_

Costumes du ballet Parade

Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin_Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered “how far” to “go too far” in the circus-like ballet Parade—one of the most revolutionary works of the twentieth century_Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and
pistol, combining them with the art of ballet_Cocteau wrote the scenario for the one-act ballet and contracted the other artists_Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes_later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer_Serge Diaghilev’s Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire_they became a manifesto of l’esprit nouveau or “the new spirit” which was taking hold in Paris during the early twentieth century_Apollinaire described the ballet Parade as “surrealistic,” and in doing so created a term which would develop into an important artistic school_

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ERIK SATIE’S BALLET PARADE: AN ARRANGEMENT FOR


Photographer Ben Ali Ong: “By shooting 35mm black and white film and layering negatives together during the scanning stage, as well as the use of surface scratching and inscriptions to the negative, I try evoke a dream like detachment of an earlier age”_

Ben Ali Ong is quickly making a name for himself on the Australian art scene. Born in Singapore in 1982, the Sydney-based artist has  exhibited widely with recent solo shows at Tim Olsen Gallery, the Queensland Centre for Photography and the Powerhouse Museum in Brisbane_

"Throughout my work I have been primarily interested in the suggestive possibilities between images, and the narrative I can create by juxtaposing the interior and exterior world beside each other. Portraits next to landscape, for example, and the tension between these two environments"_

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http://www.timolsengallery.com/pages/artists_details.php?artist_id=312

http://goneatdusk.com/project/ben-ali-ong/