USA news on Youtube Dec 11 2017

...And this is why Sergio Chejfec´s work has

that potential to open these interpretational horizons.

We are talking a lot about his essay but I would also like to talk about your essay because

it is an essay where several perspectives appear

which I had not considered

where you place me in a sort of bridge,

Id like you to talk more about this,

because I feel it is at the center of this exhibit.

If I understand when you talk about the bridge

perhaps it's the bridge between

contemporary art as it is today

and painting in its most classical and traditional form,

because I feel you belong to a school

which had very deep roots

which is the work of painting,

stemming from the fracture, the image, the character, all fundamental parts of your work,

and I feel conceptual art today presumes concepts

before the actual creation of the work,

whereas as perhaps you go back and forth from the material and the idea, the materiality and the idea,

and that is a very original aspect within your work,

and by making this type of exhibit, the contemporary part is perhaps this gallery

because there is this whimsical aspect,

done in virtual time which is very important.

There is something else I wanted to ask you.

In the horizon of Latin American art,

The idea of the game is fundamental within your work, you invented,

because if I can remember correctly in the 60s and 70s

Abstract Geometry took on an important role within Latin American art,

later it would be Neoconcretism,

but you knew how to reintroduce the human figure and

I think this is what gives wings

to this ludic and free dimension that you give your work,

and I am sure that this is a great influence

in other artists in Southern Latin America

in witnessing this type of game,

I think of other artists in Southern Latin America,

I had mentioned this to you before,

I think of a series which Argentine artist Kuitca did in the 1980s

I think of artists such as Liliana Porter

who represented her country recently in the Venice Bienniale,

where she uses different characters, and I think that

this generation, because they are different generations,

that's interesting , one is from your generation,

like Liliana Porter,

and then Kuitca comes a little later,

but they in a sense

were very inspired by your work,

this hasn't been written about or said,

but if we look back historically we see that

you begin to reintroduce the character in your canvases very early on in your career

and perhaps you influenced other artists

which I have not mentioned, but I am interested in hearing more about this.

well there are two things, one thing is the dimension of the figure,

and the other is the proposition of the game.

The dimension of the figure appeared early on in my career when I lived in Cadaques.

Casually it was very simple, I was always interested in investigating

what size the character took on within a canvas,

how close or far the character were from the viewer in the canvas,

there were some painting from Degas and others,

I always studied how far from me the characters were,

some were too close but others were located at an interesting distance from me,

they produced in me a sense of their existence more distant,

there was an artist which his sizes and proportion within his canvas were very interesting was

he was a also a great influence to Dali

he had a size within the canvas which was very convincing,

but I remember one time living in Cadaques,

and we were with Claudia and she was leaving,

walking down a street,

I remember the street perfectly, winding up,

with huge high white walls,

which ended in another white high wall with a little bit of sky in the end,

but it was turning into another sort of immense room or space

that was frontal and square and her figure had a size,

and that size of her figure, surrounded by the immense volume of the walls,

made an important impact in my work,

I said this is the size, and there I had the box which is so important in my work.

The ceiling, walls, and floor in the painting

Exactly, yes, and it is the theatrical aspect of the story,

after knowing that the proportion worked for me because it generated a distance

and it allowed me to mark the distance between the work and the viewer,

and add other things,

in some of these figures that were white,

and dressed in white you could figure out the temperature in the story,

if it was summer or winter

all in the space where there was only one woman,

and I continued with this

and I realized

I could do the same play as I did as a child with my little tin soldiers,

making a parallel story to reality,

saying many things but at the same not, they were just little tin soldiers

because when you were little you could make a massacre with your tin soldiers,

but at the same time not, because they were toys, it wasn't real, there was no blood,

this allows for a language which opens doors where you can say a lot of things,

and these soldiers were allowed to live, because they were just toy soldiers,

next to a bottle or a plate

and this is where a new dimension is marked,

an absolute personal game with me, and which started with me,

and which I had not seen on any other artist.

After that, other objects begin to transform themselves, that figure can enter a cup,

or a bath sink and you remember when you were a child and you played with your little cars

and the bath sink stops being a sink and its rim becomes a highway that leads to the beach,

and the white on the sink reminded me of Cadaques,

or the water faucets have a left and right side,

which provide hot from the left side or cold water from the right,

and they begin to transform themselves, the game appears,

The faucets can become elephants or animals that spit out water,

the reflection on the mirror, there is a whole game around the mirror.

It can be seen from a psychoanalytic perspective and Lacaan,

Velasquez, the mirror, Las Meninas, so many avenues

There, new things begin to appear, appear the size,

the shadow, the reflection,

because there is a reflection on the water and a reflection on the mirror,

but not necessarily… the reflection that I painted on the mirror,

a character could be painted here inside the pool and put its reflection on the mirror,

but I could also put things in the pool that did not have a reflection,

or have a reflection in the mirror without and the actual figure up front,

and so a game begins and of course all sorts of combinations in the game and later all the interpretations,

but I leave that to you to explain

About the mirror we could talk for hours,

also about Velásquez, who is one of the great masters,

however in Velázquez there is also a game, isn't there?

That invites you from the outside to enter the space,

and characters appear including the king, and the artist himself.

It's a fundamental painting (Las Meninas) that has a great influence,

starting from the fact that Velázquez works with the box,

the painting is a box,

and the difference is very smart

is that he breaks the box up front with the canvas,

well there are some geometric aspects and sizes that are very important

but also that the figures that are in the back, where the door is open,

that make a hole which allows for the light,

the character who leans against the door,

it is a character which is this small,

the canvas could be empty and he could have made it with only that character,

and that is the importance of these painting

which allow you to think that they could have been made in different ways,

he could have included only the midget,

or only the painter who is Velázquez looking on,

it has many variations,

it is of great influence of suggestion to many artists.

I also think of Francis Bacon who also plays with the space of the canvas

with his slipping characters,

but the playful aspect really characterizes your work,

playful but also tragic,

because this is how life is

and also how theater is,

the comedy of art makes you laugh but also cry,

it's the theater of life,

and when I wrote the introduction of the catalogue

I thought of Pirandello,

because in Pirandello's theater, the characters

refuse to just be characters in a script,

they are characters which rebel and jump out of the book

and demand their right to exist

within the real space,

that is the great thing about Pirandello,

the idea of breaking the distance between representation and observation,

real life and the fictional world,

and it is interesting to see in your works how your characters almost jumping out of the canvas

These want to step out and step out of the canvas and are re-inverted.

The book I just made

They jumped out of the book now that you mention it, that's incredible

And this is why I see a parallel between Pirandello's theater and your work,

I have only opened a door but I think many art critics

who might be interested in following that idea many similar things,

also between the playwright as well as the playwright represented within the play,

and how they are auto represented, there is also that in Pirandello

These "mise en abyme"

And of course in your work we mention

the box which is very you, the game,

the play of light,

but also the idea of the "mise en abyme"

What is that?

The "mise en abyme" is when the artist portrays himself within the painting,

or the painter painting,

an example for instance is your work "La casa de la casa"

shows this idea because it is a painting that you called "house"

or a box within a box within a box,

with a character

which represents a box with a character, which represents another box with a character and so on,

and also the fact of where the painting is located within the gallery,

also plays with the space of the gallery

and creates another space, and so on

and one asks where does this "mise en abyme" ends.

That is all very theatrical.

Shakespeare uses this in a scene where the viewers in a scene are in the theater,

or in a Fellini movie where children in a scene are also watching a movie,

so theater and film have much to do with your work

It feels nobody discovers many things

and one arrives to certain things by coincidence,

I've arrived to these things by conclusion of my own work,

so… the truths and things appear and are not so complicated,

they can appear in any genre while you are working in them,

and… I am reminded of my mother when I am talking with her and I say something,

or she mentions something, something similar to know that you brought up Pirandello,

I didn't read Pirandello, that's curious,

I think sometimes I should read more and hang out more with you or with my mother,

those things afirm other things,

and allow me to see things with more clarity.

all these things that you mention about Pirandello and his characters coming out of the canvases are very provocative,

to be able to make a new painting,

its not that easy when you are not that much of a reader,

nor do I have that much contact with people who can share these provocative ideas.

But.. you are happy with the exhibit, right?

I am very happy, and not just me..

the enthusiasm I have seen from students,

professors, board, members, visitors,

we are all so happy.

And although we had made in the past

site specific installations in situ,

but never with this form of aperture

and tacit agreement between you and the museum for

to come and try new things,

because a studio is where new ideas are put to the test,

because when you arrive at a studio you are aware that the works are not finished,

and having the opportunity to see that experience is a gift that you leave us ,

and anyone who comes to this space will be very inspired

and if anyone had any questions about what it is to be a visual artist,

they will find many answers here.

You got excited, what an emotional person, incredible,

the truth is we agree on everything and we could play in the same team,

one kicks to the center and the other heads the ball,

you cant ask for more, so..

In direct for the BBC London

For more infomation >> Patrice Giasson e Ignacio Iturria PARTE 2 - Duration: 19:14.

-------------------------------------------

Deeper Pixels :: How to PHOTOGRAPH the GRAND CANYON - Duration: 9:59.

so I have some footage that I want to share with you but I need to set this up

with a little bit of context so yesterday I got back from Arizona I was

out there for a few days to work with my friend Stephen's photo lab called hidden

light I got to make a palladium print up there with my friend Matt and it was

really an amazing time and I've got some videos I'm going to share with you one

thing I did not expect is that I would be going to the Grand Canyon and my

friend Rod was up there and he said get some rest tonight because at 4:30

tomorrow morning we're gonna get up and were gonna drive to the Grand Canyon and

if you follow me on Instagram I did a bunch of Instagram stories on this while

we were out there and by far the most asked question that I got was Ted does

your jacket really say deeper pixels on it?

of course it does this jacket was

designed for the absolute deepest pixels and we'll get into that in a minute but

first I want to check out my experience at the Grand Canyon

probably best to start at the beginning

[music]

this was my first time to visit the Grand Canyon and it was a complete

spiritual experience it was like nothing I've ever seen before

you know I've seen pictures of the Grand Canyon obviously but until you're there

you have no concept of what an amazing thing this is and so my friend Rod Clark

who took me up there - I didn't know I'd be doing that on this trip so

he said we're gonna get really early we want to photograph this right as

the sun's coming up I said okay we can do that so we get up at 4:30 and we you

know head out it's freezing cold and we finally get there and we're kind of… Rod

has been there before so he knew a couple locations so we're coming up over

this ridge and we're gonna kind of scout where we're gonna set up tripods and

shoot and I'm coming up over the thing and the sun's not up but there's a

little bit of light coming up on the other side so you can kind of see into

the ditch so to speak and here's the Grand Canyon and it's… you look down and

it's dark and it's black but there's textures and in my mind it was like

that's the photograph I want to get I don't even want the Sun up this is what

of course it wouldn't make a great photograph you can't capture that dark a

mood and have it work on paper or even on screen as well and we weren't set up

yet but we did set up and then the Sun came up but this thing is just it's

phenomenal and you know you're looking at this thing and you're obviously in

front of it and it's such a surreal experience because in my mind it's like

I'm seeing this but then you're looking at on this little ridge and you see

these tiny little figures and you realize those are people that is huge

and because I've never seen something that's five miles across before where

you could see most of it you know this look out and it was just it was so

amazing it was phenomenal and I can't wait to go back because the problem is

is when doing landscape photography and as fast as the light is moving

particularly at sunrise we kind of stuck to one location and then moved a little bit

later and did a couple other shots but you really want to go back multiple

times and so I can't wait to go do that again I think it would just be fantastic

and it was an amazing amazing experience when you do landscape photography and

and I didn't know I was going on this trip which was kind of good because then

I didn't over pack but really for any type of photography whether that Street

or landscape my ethos because I've been so bad at it in years past is that I

like to have as little with me as possible

and only have what I need because if you bring too many lenses and too many extra

options then you spend more time setting things up and

not actually photographing so that was a big deal for me on this and I did do

video obviously as well as stills and because I want to share with you guys so

my video rig I had my gimbal and my rx100 mark 5 on that and I shot all the

video with that and then I had separate camera for stills and I did bring some

filters and a tripod because that was kind of essential when you're shooting

in low light but it was pretty basic what I did in terms of filters and all

that and my setup so we went down there and you guys were talking about my

jacket earlier and actually I mentioned this has actually replaced an entire

camera bag for me which is huge because you know when you do especially with

landscape photography usually there's a lot of walking involved to go do it and

so to be able to replace one of my camera bags with something is pretty

amazing if you guys are interested my man Brian Abrams makes these and Brian

is a really interesting guy… they're not designed specifically for

photography but they work really well for that

Brian spent about 25 years working for the US military

special ops designing tactical gear and he's out on his own right now and he

started a company called Ababilis and they did a kickstarter project about a

year ago and they introduced a bag that was really cool and was very successful

and their new thing is this responder outerwear tactical system which sounds

really cool but basically there's two pieces to this it is the jacket and it's

also this hoodie that I had on and both are amazing and what's really cool is

there are pockets everywhere on these things and literally between the two I guess

you've got seven pockets going on the hoodie basically has one big one that

goes you know across your stomach but the other cool thing about this is it's

also very breathable so you don't suffocate in it and it also has

reinforced shoulder straps so… or shoulder pads and they're not pads like

they don't stick up but what's really cool about these is when you're wearing

a backpack is that they don't like you don't feel any rubbing against your

shoulders so you can go quite the distance and not feel the pain so to

speak but the jacket is quite awesome he did do mine custom with a deeper pixels

velcro military-grade sticker on here you can customize this with whatever you

want I suppose but it has seven pockets on it and they're amazing the front ones

have magnets in them so if you put something in there you don't even ever

think about it it closes up and locks you can fit like a small tablet I put my

filters in the back of it which was really cool and I think these are

outstanding the other really cool thing that makes this really useful is it has

all these laser-cut molle slits in it so basically what this means is like don't

have it here but my knife you can put that in here if you need

that to travel with or you can look online and you can get you know tactical

clips and stuff to tie on here so what's really cool about this is if you want to

do street photography for instance and you want to bring an extra lens you've

got pockets to put it in so it eliminates the need for a camera bag you

can put SD cards you can put all your stuff in here and it's really quite

amazing there's another shoulder pocket here so I guess that's another one so

you guess you have eight pockets total I will put a link to his Kickstarter

campaign you gotta go check it out he's got a really cool video on there and

he's a really interesting guy but I will put that in the show description and

because I was in Arizona I got to do a lot of really cool things and I worked a

lot with hidden light who were printing studio there my friend Stephen owns I got

to make some prints while I was there with my friend Matt I made a platinum

palladium print actually it's a pure palladium but anyway I'll get into all

that so there will be a lot of videos coming out this week as fast as I can

edit them and then next week I'm gonna be in New York City people have asked me

about a meet and greet kind of thing and I'll see what we can do it's gonna be a

very busy trip but stay tuned and I'll let you know one way or the other you

can follow me on social so usually talk about those things there too till the

next video guys I will see you all then later

For more infomation >> Deeper Pixels :: How to PHOTOGRAPH the GRAND CANYON - Duration: 9:59.

-------------------------------------------

Polyester - Bande Annonce (VOST) - Duration: 2:24.

For more infomation >> Polyester - Bande Annonce (VOST) - Duration: 2:24.

-------------------------------------------

BREAKING News Out Of NEW YORK CITY – This Is HUGE | MK Today - Duration: 3:33.

BREAKING News Out Of NEW YORK CITY – This Is HUGE!

Ever since President Trump announced he'd be moving the US embassy to Jerusalem, Muslims

across the world have been promising to retaliate.

Over the weekend, Muslims in New York city held a rally and called for the slaughter

of Jews, vowing the the "army of Mohammad would be returning."

Now just 24 hours after these violent threats made headlines, breaking reports are confirming

a terror attack in New York City this morning, where details coming in reveal that one person

is already in custody, as emergency personnel scramble to control the situation.

NBC reports:

The New York City police department on Monday confirmed reports of an explosion near Times

Square in Manhattan.

New York City officials confirmed reports that one person is in custody.

Multiple reports say the suspect what is believed to be a pipe bomb in the Port Authority.

The A, C, and E subway lines are being evacuated at this time, according to a tweet.

The department said the information is preliminary, and will provide more info when available.

Right now, authorities believe the explosion came from a pipe bomb in the subway.

Details are still trickling in at this point, but the area is currently being evacuated

and one person is already in custody.

"Emergency personnel responded this morning to the Port Authority bus terminal in New

York City to investigate reports of an "explosion," which police sources said was possibly caused

by a pipe bomb," ABC reported.

"Police sources said the pipe bomb was possibly detonated in a passageway below ground at

Port Authority.

One person is in custody and there are a few injuries, the sources said."

This is extremely chilling in light of the threats that Muslims have been constantly

making over recent weeks, where New York City has been the main location that ISIS has been

vowing to target over the Christmas season.

Officials have met these constant threats with the reassurance that they are prepared

for these types of attacks after several propaganda videos were released by ISIS since November.

Fox News previously reported:

New York City officials vowed that they were prepared to handle any terror threat late

Wednesday after a video released by ISIS praised the recent attacks in Paris while using previous

footage of a suicide bomber preparing to attack Times Square.

The video's release came just before the city goes into full holiday mode, with next

week's Macy's Thanksgiving Day Parade followed by the Christmas tree lighting in

Rockefeller Center on Dec. 2.

These and other events attract tens of millions of visitors each year.

Police Commissioner William Bratton described the video as "hastily produced," while

Mayor Bill De Blasio insisted that New Yorkers "should continue to go to work, live their

lives, and enjoy the greatest city in the world."

"Be aware, but do not be afraid.

The NYPD will protect you," Bratton said.

"We cannot be intimidated, and that's what terrorists seek to do.

They seek to create fear.

They seek to intimidate.

We will not be intimidated, and we will not live in fear."

The video, released by ISIS's media arm the Furat Media Center, features several men,

some speaking in Arabic and French, congratulating ISIS over the Paris attacks and promising

that terror group will prevail.

We will keep you updated as more information becomes available.

Right now it's unclear whether there were any deaths of injuries, as the location is

still being evacuated as we speak.

what do you think about this?

Please Share this news and Scroll down to comment below and don't forget to subscribe