Call Me By Your Name, the last film of Luca Guadagnino, nominated to several Oscars and winner of the one for the Best Adapted Screenplay, is a cinematographic poetry. From every aspect. From the photography of a kind of Italy different from the one you can see on postcards to the music of Sufjan Stevens, from the final monologue of Michael Stuhlbarg to the interiors.
Imagine to take all this beauty and make it live in the impressionist paintings of Monet: it’s what the Filipino artist Mika Labrague does with her collages, where Elio, Oliver and other characters of the film become part of painting from the French master.
Although Monet painted this places between the 19th and 20th century, the two worlds matches perfectly in an unique moment of visual beauty.
Isabella Montan is a young art director of Parma who has created an Instagram profile in which she encloses People/Animals/Nonsense/Things/Objects/Pieces of life all in color, all nicknamed Pantop.
The difference between her project, and many others that we have also talked about here, for example this, lies in the fact that Pantop doesn’t contain a single world, but a lot of them.
There are actors and films that won the Oscars, there are musicians, there are characters that have made the history, there are invented characters and many more.
We have selected our favorite, but you absolutely have to go and look her profile.
The exhibition 999. Questions about living, curated by Stefano Mirti in the spaces of the Triennale di Milano, proposes some questions about the concept of home and living, especially in relation to the increased current technological, digital and energy transformations. The questions are many and probably not all and the answers, also proposed through interactive installations, tend to offer new points of view about what we simply call “home“. “Live in” means experiencing a different, customizable space, not only physical but also digital. For these reasons, the exhibition itself becomes a physical experience for the user because: “if I listen I forget, if I see I remember, if I do I understand“. For the most inquiring, a Facebook page and an Instagram profile have been opened with the same title of the exhibition. Here is the official link of the exhibition and the interview to the curator Stefano Mirti.
The exhibit has been conceived as a big house, a sort of workshop. How has it been created?
We wanted to have a modular and flexible box, like a Lego system, that could be well-rounded but also powerful. In Italy the house has always been conceived as a stage and we needed to find a practical and impressive solution. On one hand we have the simplicity of the modular box, realized with welded pipes, on which are picked the acoustic shelves and the lamps made by Francesco Librizzi for Fontana Arte. This is an action of layering: there are the illumination, the acoustic layer, the path, the alternating between full and empty spaces.
All the exhibition is conceived as a modular library full of different contents. In fact the project lives in a digital and social world and for this reason the set-up was the most important wedge of the whole project.
How was the collaboration with Petra Tikulin born?
We’ve known each other for years, she worked in Italy and Croatia. She moved here in Milan For this project and worked with Miriester Robles and Masha Chigvinadze in an excellent way. Putting together all the different elements of the set-up project, like the budgets, the different suppliers, the thousand contents and the number of activities, was a very complex operation. Without the sophistication and intelligence of our three designers, it would be impossible.
Do you think that the trend towards “cohabitation” is positive and in it lies the future of our homes?
It’s one way to intend the contemporary living. Is it positive or negative? It depends. Let’s say it’s like sex, it depends on taste. If you like it, great. If you don’t like it, it’s not easy to please.
For sure it’s one of the most important ways of living in this moment.
Involving people from different countries, have you noticed any substantial differences or common points about the concept of living?
It doesn’t seem to me that the different origin was a reason for great differences. We met Israeli, American, Swiss and many other guests. From the curator’s point of view there were more points in common than differences. The project developed by the people from Bangkok was very interesting because they focused on the spirits and other presences that live in our home and consists in 9 micro-installation that are located in different parts of the exhibition space.
The exhibition talks about contemporary living, but what challenges will today’s home face in order to adapt to the future?
The challenge is ongoing because the future is already between us. As the famous science fiction writer William Gibson says: “The future is already here, only that it has not been equally distributed”. The future is in all respects a concept of the past. Now, after two hundred years of Jules Verne, Star Trek and assorted science fiction, we have arrived at this eternal present that is our new condition. We simply have to get used to it. Not easy, not impossible. With a little effort, certainly feasible.
In a world where everything is possible, the fantastic creations of the twenty-year-old digital artist Julien Tabet would add up to a series of things already seen and not able to snatch a smile.
In a world like ours, beautiful yes, but sometimes too real, her works are a breath of surreal air.
Juliet, with her young age and her Photoshop, creates an alternative world where animals live a completely different life.
A mix of worlds, bodies and elements that you can only imagine.
Giant pink rubber nodes where the lines never seem to touch, vertiginous pyramids of balloons, spheres composed of donuts and futuristic residences. For all this we need a fervid fantasy and audacity. Qualities that the architect/artistCyril Lancelin (founder of the ‘Town and concrete’ studio) clearly has in abundance. His visionary and creative mind has no boundaries, as his domestic spaces without corridors where the limit between inside and outside is not understood.
Circles, squares and triangles: elementary forms that acquire volume and are multiplied. A repetitiveness that we also find in the installations where we feel immersed both visually and tactfully in a harmonious geometry from which we are pleasantly disoriented.
We spoke with Cyril before the opening of his last exhibition: ”Sphere”, open until April 29th at the MR80 gallery in Paris
The parametric design for us is: ”The search for beauty in the right proportion”. Why did you choose it for your buildings and installations? When you design a building or an installation, the important thing, like having an original idea, is to find the right scale. The only way to find it is to experiment. With parametric design i can make 50 attempts when I could only do a maximum of 5 before.You decide the rules and then change the scale, shape and parameters. In this way i can design things that i could only have before in my head.
Have you made the same choice for the project of your house in Lyon? Yes, I designed it so that it was open on the garden, keeping some walls and finding the right balance between inside and outside. I wanted every room to be able to see the next room and I tried to make the structure as simple as possible.
Besides being an architect you are also an artist. What was the motivation that made you start with art? Art allows you to experiment ideas with more freedom than architectural construction in which you are more constrained by the cost dictated by the customer. In art it’s not necessary to have a client and you can propose ideas without restrictions. I imagine installations or “images” of installations without constraints. The installation can remain in the image stage or be realized, the idea in this way is alive. I started doing a lot of research and publishing some projects before they were built to get a pre-feedback. In this way I had less pressure and also the time to make adjustments. The luck is that many of my works, after their publication, have come to life.
What is the philosophy behind your immersive installations? I’m looking for a space experience. The transition from one space to another must be like a discovery. The visitor will question his movements within the installation.
Who/what are your biggest influences? I like the classics. Lately I’ve been to Marfa in Texas to visit the Donald Judd Foundation, it was really a great experience. I browse many websites, read a lot of magazines to get influences from different fields and discover new artists.
Which current art world trends are you following? I look around 360 ° but in particular I love immersive installations.