Ten sneakers for ten All-Star Games

Ten sneakers for ten All-Star Games

Giulia Guido · 2 months ago · Style

It’s mid-February, and for all basketball enthusiasts, it means one thing: All-Star Weekend. As every year, the weekend dedicated to NBA stars returns, starting today, Friday the 16th, with the NBA Rising Star, continuing on Saturday with the three-point shooting contest and the dunk contest, and ending on Sunday with the All-Star Game featuring the stars of the Eastern Conference against those of the Western Conference. This year, in particular, it’s Giannis Antetokounmpo vs LeBron James.
But it’s not just the players taking the court; the brands also jump on this alley-oop, releasing new sneakers ready to whistle both on and off the court. Over the years, there have been many releases, and we’ve decided to revisit ten that have entered the history of the All-Star Game.

1985: Air Jordan 1 High ‘Chicago’

For his first All-Star Game, Michael Jordan took to the court wearing a pair of Air Jordan 1 High ‘Chicago’. Designed by Peter Moore, these sneakers feature the colors of the Chicago Bulls and include the famous Nike Air cushioning system incorporated into the midsole.

1991: Reebok The Pump

In 1991, during the dunk contest, Dee Brown (at the time a guard for the Boston Celtics) was ready to run towards the basket when, without much ceremony, he placed the ball on the court and literally began inflating his Reeboks through a small inflatable pump on the tongue.

1996: Air Jordan 11 OG ‘Columbia’

One of the most beautiful silhouettes designed by Tinker Hatfield, the Air Jordan 11 OG ‘Columbia’, made their debut during the All-Star Game with MJ as MVP. They are characterized by their color, a pristine white that yellows over time, giving the shoe that special beauty typical of objects with a story to tell.

2003: Air Jordan 3 Retro ‘True Blue’

2003 marked the end of an era, being Michael Jordan’s last year. Despite all eyes being on MJ at the All-Star Game, a very young Kobe Bryant didn’t go unnoticed, and neither did his choice to wear a pair of Jordans. At the time, Bryant didn’t have an exclusive contract with any brand, so he chose to wear the Air Jordan 3 Retro ‘True Blue’ for the occasion.

2005: Reebok Shaq Attaq

One of the most hilarious advertising ploys is associated with the Reebok Shaq Attaq worn by Shaquille O’Neal in 2005. From the name to the various brand activations, every aspect of the launch of this silhouette played on Shaq’s size and especially his shoes (we’re talking about a size 22!), so large that you could fit a phone inside and actually use it, or even a remote-controlled car and let the shoe travel anywhere.

2012: Zoom KD 4 ‘All-Star – Galaxy’

In 2012, Nike created a sneaker called ‘All-Star – Galaxy’ for 3 players, including Kevin Durant, who was named MVP of that year’s edition. At his feet were a version of the Nike Zoom with a space-themed midsole pattern and an orange swoosh on a metallic silver upper.

All-Star Game

2013: Barkley Posite Max ‘Area 72’

The following year, Terrence Ross took to the court wearing a pair of sneakers designed to celebrate Charles Barkley’s career through their details: the black colorway, the upper with space motifs, and the phosphorescent sole. The icing on the cake? A small Raygun logo – a symbol of the Nike Raygun collection to which this shoe belongs – on the tongue of the shoe.

All-Star Game

2015: Air Jordan 29 Photo Reel

Certainly not the shoe that left the greatest mark, but one that couldn’t be missed on this list is the Air Jordan 29 Photo Reel. For 2015, Jordan Brand decided to pay tribute to its 30th anniversary by printing the famous photograph of Michael Jordan scoring on a Chicago court with the city skyline in the background across the entire silhouette. The image became iconic as it inspired the creation of the brand’s logo.

2018: A Bathing Ape x Dame 4 ‘Green Camo’

In 2018, adidas made headlines by launching a collaboration with A Bathing Ape. The guard of the Portland Trail Blazers took to the court wearing a pair of Bape x Dame 4 in the Green Camo colorway. Characteristic are the shark teeth all over the upper and the acronym “WGM” in red, blue, and orange, which stands for “World Gone Mad”.

All-Star Game

2020: Nike LeBron 17 “Mr. Swackahammer” e “MonStars”

Not only on the occasion of the All-Star Weekend but also with the release of Space Jam 2, LeBron James flaunted the Nike LeBron 17 in two colorways inspired by the movie in 2020. For the first two quarters, he chose the “Mr. Swackahammer” colorway, which features the purple and green colors of the villainous “bad” owner of the Monstars team. After the break, LeBron returned to the court with the same shoe, but in the “MonStars” colorway, characterized by an acid green and electric blue.

All-Star Game
All-Star Game
Ten sneakers for ten All-Star Games
Style
Ten sneakers for ten All-Star Games
Ten sneakers for ten All-Star Games
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Ivana Sfredda, If We Assimilate To Enjoy (And To Lose Ourselves)

Ivana Sfredda, If We Assimilate To Enjoy (And To Lose Ourselves)

Giorgia Massari · 3 days ago · Photography

I’m not sure if it’s the sexual component that catches my attention. Perhaps it’s some elements, especially snails, that evoke a sense of familiarity in me, but also nostalgia for something I can’t quite identify. There’s a call back to my childhood, and it’s precisely the snails that evoke it. They were my only playmates when I spent the summer in a remote mountain location, in my grandparents’ garden which after a storm became the perfect habitat for these small creatures, as slimy as they were curious. Back then, I would pick them up from their shells, place them on my arms, and let them slide over me, amused by the trail of slime they left on my skin. I didn’t know it then, but I was assimilating them. In fact, that’s exactly what Ivana Sfredda talks about in the photos she showed me a few weeks ago in her studio in Milan. Soak up is the title of the series still in work in progress that the Molisan photographer has been working on since 2022, or perhaps even earlier. Interpreting the Anglo-Saxon term “soak up” literally, it refers to the sensation of enjoyment perceived in the act of assimilation. A unique human and animal need, that of joining someone or something, of being connected, and of “annihilating the boundaries that delimit a body.”

ivana sfredda
ivana sfredda

Ivana Sfredda’s macro shots do not contemplate any subject hierarchy. A strawberry in a man’s mouth, a group of worms intertwined, a droplet about to fall from an old faucet, all appear one after the other in a carousel of images that dance hand in hand in a perpetual circle, without jerks or arrogance. Hand in hand, united, assimilated into each other, in the other. So that in the act of encounter between two bodies, there is no longer a “my body” and “your body.” The power dynamics that humans have built in the relationship between artifact and nature are nullified. Perhaps this is where my childhood memory fits in, where it is clear that in that space-time arc, I did not know of this imposition, and no construct had yet had time to settle in the logic that today exists in me, the inequality of man > animal or even more so, artificial > nature.

ivana sfredda
ivana sfredda

But there is something beyond this unconsciousness or yet uncorrupted consciousness. Ivana explains it to me by citing Mario Perniola, a philosopher, writer, and theorist of contemporary art, delving into the sexuality mentioned earlier. Because it is clear that in the union of two bodies there is a tension that moves them towards each other, but it doesn’t necessarily have to be laden with a pleasurable end. Perhaps it’s just an unconscious need to lose one’s original form?

«Perniola identifies in sexuality a point of suspension that he defines as neutral sexuality: the detachment from one’s own body that implies a sense of estrangement, cybernetic and indeed neutral. This erotic impulse detaches itself from the pursuit of carnal pleasure in function of an intense contact where the organic and inorganic body becomes a meaningful surface. A very powerful communication system that leaps beyond the categories of human/artificial, human/animal, animal/artificial – relative to being as such – which traces the fluid architectures of an alternative body.»

ivana sfredda
ivana sfredda

As explained by Ivana Sfredda, in the encounter with the other, the self feels fulfilled. This reminds me of a book I read some time ago when I was searching for a more conscious self. A New Earth by Eckhart Tolle – found in the “esotericism” section of a bookstore – actually talked about this. It discussed how the self exists only in the reflection in the other, when the annulment of the ego occurs, which only defines the boundaries of a prison where a false narrative of ourselves lives. So, in Ivana Sfredda’s shots, which she explains to me are a sort of exercise and play, all this is visually translated, as if to illustrate the daily and widespread existence of continuous equal and harmonious connections between elements that seem distant both in a hierarchical and semantic sense.

«The series focuses on the meaning of contact and relational energy, an exercise in imagining how these incomplete relationships can represent profound portals of learning.»

ivana sfredda
ivana sfredda
ivana sfredda
ivana sfredda
ivana sfredda
ivana sfredda

Courtesy & Copyright Ivana Sfredda

Ivana Sfredda, If We Assimilate To Enjoy (And To Lose Ourselves)
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Ivana Sfredda, If We Assimilate To Enjoy (And To Lose Ourselves)
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Alec Gill and Hessle Road photo archive

Alec Gill and Hessle Road photo archive

Anna Frattini · 3 days ago · Photography

Alec Gill is an English photographer, historian, and psychologist born in Hull, a city in the East Riding of Yorkshire county, famously known for its port. A few years ago, a crowdfunding campaign was launched on Kickstarter to celebrate the fifty-year anniversary of the first photo taken for the project dedicated to Hessle Road with a book, and we’re discussing it here today. The archive of 7,000 photographs – taken with his Rolleicord twin-lens reflex camera – dates back to the decade between 1970 and 1980. There are 240 images included in The Alec Gill Hassle Road photo archive, and in each of them, one can feel the atmosphere of a very difficult historical moment for the residents. It marks the decline of the fishing industry and the demolitions of mass housing in the area.

alec gill photo archive

The Alec Gill Hassle Road photo archive

The book, launched on May 18th last year, was written and conceived by Iranzu Baker and Fran Méndez. In this interview with Port, Baker discusses some aspects of working with Alec Gill. The photographer – during the writing of the book – proved to be «endlessly curious, extremely determined and dedicated». During those years, Gill also focused on the lack of play areas for children and how younger generations adapted to the changes in the area. Another goal was certainly to freeze time before the end of an era. That of fishing in the area, ended with the Cod Wars starting from 1958 until 1972 and 1975. A piece of history that thanks to Gill has not been forgotten.

Gill’s is a genuine inclination towards the stories of the underdogs. The aim was to ensure that these stories were told, both now and at the time of the shots. The Alec Gill Hassle Road photo archive is not just a social study, therefore. It is a testament to the relationship Gill has established on a human level with his fellow citizens. Their stories seem to tell themselves in front of the photographer’s lens. Furthermore, the naturalness of the shots not only captures the theme of childhood but also communicates extremely functionally moments of the daily life of the inhabitants of Hassle Road.

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Alec Gill and Hessle Road photo archive
Alec Gill and Hessle Road photo archive
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Nanni Licitra’s non-places

Nanni Licitra’s non-places

Giorgia Massari · 2 days ago · Photography

Nanni Licitra ‘s (1988) photographs focus primarily on non-places, anonymous and impersonal spaces that dot urban peripheries. Licitra transforms these marginal areas into other scenarios that acquire new meaning. We are talking about the series Hell end in Hell, whose images are emblematic reflections of a society in transformation, where the individual struggles to find a sense of belonging and identity in an increasingly chaotic and alienating context. The series, winner of the Liquida Photofestival Grant, on view in Turin from May 2 to 5, is a true socio-cultural analysis that reflects in toto the contradictions of contemporary society.

nanni licitra

Nanni Licitra ha iniziato la sua ricerca fotografica nel 2008 concentrandosi esclusivamente sulla fotografia analogica. Questa scelta non è casuale; infatti, la fotografia analogica richiede una pazienza e una precisione che si riflettono nel suo approccio distaccato e contemplativo. Licitra si pone come uno spettatore attento delle realtà che lo circondano, privilegiando uno sguardo che va oltre le apparenze per cogliere l’essenza delle cose. L’utilizzo dell’analogico da parte di Licitra non è solo una scelta tecnica, ma rappresenta anche una dichiarazione di intenti. In un’epoca dominata dalla velocità e dall’effimero delle immagini digitali, il fotografo siciliano opta per un ritmo più lento e contemplativo, che permette di approfondire le tematiche trattate e di trasmettere un senso di nostalgia e malinconia tipico dei non luoghi.

nanni licitra
nanni licitra

Courtesy Nanni Licitra

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MIA Photo Fair, What We Liked Most

MIA Photo Fair, What We Liked Most

Giorgia Massari · 2 days ago · Photography

The preview of the eighth edition of MIA Photo Fair, the photography fair that returns to Milan every year with a selection of international artists, was held yesterday, April 10. This year it is no longer in the usual Superstudio Maxi, but moves next to the star of the week, Miart. So that, potentially, in one day the bravest can see two fairs by getting off at the Portello metro stop. Miart at gate 5 of Allianz MiCo while MIA Photo at gate 16. Getting to the point, let’s talk about what we liked. As is always the case, following the trade fair system, many of the exhibits are seen and seen again, but still enjoyable to review such as shots by established photographers of the caliber of Giovanni Gastel and Ugo Mulas, or even photojournalists Fausto Giaccone and Carlo Orsi. But, among the many evergreens we have unearthed a few new ones, perhaps a few names we have already heard, but not so much in our opinion. Therefore, we made a selection of our favorite booths.

#1 Maria Svarbova – ARTITLEDcontemporary (B022)

mia photo fair

#2 Irina Werning – OTM Gallery (B023)

mia photo fair

#3 Karla Hiraldo Voleau – Christophe Guye Galerie (B019)

mia photo fair

#4 Laetitia Ky – LIS10 Gallery (E014)

mia photo fair

#5 Giulia Frump – Young Art Hunters (F018)

#6 Paolo Ventura – MarcoRossi ArteContemporanea (A022)

mia photo fair

#7 Daniele Ratti – VisionQuest 4Rosso (C018)

mia photo fair

#8 Najla Said – Mashrabia Gallery (F005)

mia photo fair

#9 Angelo Formato – Welcome to my known collective exhibition

mia photo fair

#10 Thorsten Brinkmann – Galleria Fumagalli (A019)

mia photo fair

MIA Photo Fair will remain open until Sunday, April 14.

MIA Photo Fair, What We Liked Most
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MIA Photo Fair, What We Liked Most
MIA Photo Fair, What We Liked Most
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