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All posts by Narayana

Fashion

Ilse Leenders for Jeroen van Tuyl

Direction & Art Direction: Ilse Leenders
D.O.P: Lonneke Worm
Editor: Wietse de Zwart – The Ambassadors
Assistants: Maaike de Boer, Vera van de Sandt, Nina Sondagh
Model: Anton – Tony Jones Model Management
Hair & Make Up: Dominique Roshanak
Costume Designer: Jeroen van Tuyl
Producer: Dijana Olcay-Hot – Revolver Media Productions
Assistant producer: Emile Steginga

Special Thanks: Jaap Hermans

visit the websites:
www.ilseleenders.com
www.jeroenvantuyl.com

JeroenvanTuyl_IlseLeenders

Art, Media

Part 1: Video Art killed the Painting Star: Bern

Peter Aerschmann, FROM A TO B, 2010, 12 min loop, 16:9, no sound DVD & HD Video, Ed. 5+1 AP, © Peter Aerschmann 2010

Video has long been considered yet another art medium to expand on painting, and has been described as ‘mark making with movement’. Today, having video as part of an art collection is common, however creating a comprehensive collection of video art and successfully integrating it’s viewing in to daily life still defies convention. I talk with dedicated collectors Carola Ertle Ketterer and Günther Ketterer who are based in Bern, Switzerland about their fifteen-year long video art collection and what it means to collect and exhibit video art long-term.

written by Claire Breukel

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Design

Piet Paris Contour Fall Collections 2011

Piet Paris @ Unit C.M.A

visit the websites:
Piet Paris
Unit C.M.A

Music

Lana Del Rey Videogame

Art

Sunny Suits Regular Lovers

Sunny Suits’ second solo exhibition is titled ‘Regular Lovers’. borrowing its name from a Philippe Garrel film. Like Garrel, Suits works from her own life and relationships, giving us starkly honest insights into her private world through the portrayal of friends and lovers.

written by Olivia Singer

The photographs individually offer us glimpses of respective figures in Suits’ life. As with the work of Garrel, Cassavetes, or even Fassbinder the same characters reoccur throughtout her work. Whilst her photograhs speak in conjunction with social realism through their honest presentations, perhaps the most intriguing aspect of the collection is how Suits herself manages to authen-tically capture this aesthetic. These are not candid photos, yet they betray the same intimacy as if they were. Even when the subjects look into the camera itself, it seems it is Suits they see rather than a lens; it is she they continually respond to rather than the camera.

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