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architectuul · 4 years ago

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Studio Visit: JQTS

The visit to JQTS studio took place towards the end of 2020, and in a true 2020 fashion: via Zoom. Cautious because of the COVID-19 pandemic and eager to keep the conversation going despite the distance, João Quintela and Tim Simon – founders of the JQTS studio – and I sat down to talk about their joint architectural practice, which was set up to work well at a long-distance format long before the special circumstances of 2020 kicked in.

Project VERTIGO, Lisbon, 2014 | Photo © Diana Quintela

JQTS is an architecture studio working between Lisbon and Hamburg. It was established about a decade ago, when its founders reconvened in Lisbon after originally meeting in Chile, during an internship at the office of Pezo von Ellrichshausen. Tim arrived in Lisbon for an Erasmus exchange at the Universidade Autónoma de Lisboa, which is also João’s alma mater; from their first jointly developed projects, the new studio emerged.

Project KAIROS, Lisbon, 2012 | Photo © Diana Quintela

The first project of JQTS came about as a reaction to the lack of opportunity for young architects, which was a consequence of the economic crisis Portugal struggled with during the early 2010s. In an effort to combine research with space and community activation through design, JQTS studio partnered up with a producer of pre-cast concrete, got a place for an intervention in the post-industrial, up-and-coming cultural scene of the LX Factory, and got to work. “We created these series of lectures and events, interventions and inventions, all of them completely done by ourselves but involving everyone: building in place, making the posters, writing texts, giving lectures”, João recalls. “It was a big process involving lots of people who were joining us as the project unfolded. That’s how we started, that’s the context.” Things changed in the meantime, with the tourism boom and sudden increase in demand for renovations and tourist houses. “We didn’t do many things connected to tourism – there is one particular project, ULISSEIA house in Marvila, but that space is also intended to be multifunctional,” João explains, noting that the coincidence, along with their personal preferences and interests, has led the JQTS practice away from working more on apartments and residential projects in general.

Project ULISSEIA, Lisbon, 2018-19 | Photo © Diana Quintela

Both João and Tim are currently doing their PhDs and teaching, which influences their joint practice in a myriad of ways. “If you take a look at our portfolio, you’ll see a lot of small-scale projects that we built either by ourselves or with students,” Tim says. Their workshops are grounded in theory and start with theoretical considerations but require students to pick the material up and start building. “Designing while doing, figuring it out in the process, testing the idea and the material – that’s what we enjoy doing in our workshops”, Tim explains. He is teaching architectural design at HafenCity Universität Hamburg, while João teaches drawing and painting at Lisbon’s Autónoma, along with a theoretical course in which architecture is considered in relation to art, cinema, and literature.

Expressive drawings as an architectural tool: from the projects ULISSEIA, VERTIGO and UNTITLED (Cascais, Portugal, 2019).

Teaching and research are vitally important for the JQTS practice. Tim’s Ph.D. project is practice-based, and he uses the studio’s designed and built projects as case studies in tectonics. “It’s about understanding that tectonics is the poetics of construction. So, we’re trying to use the construction to define the spatial structure of the architecture, but also to give expression to the architecture,” Tim says. He uses the projects as frameworks within which the ideas emerging from his research can be explored. The fact that many of these projects are set within the cultural context of theater or dance festivals helps, as such context encourages freedom of form and expression. “For this kind of project, we came up with the term commonstructures”, Tim explains. “We also understan these projects as places where it is possible to engage society with art. Bringing the people together is also something that I’m very much interested in – how people relate to the project, to the architecture, how they use the architecture, experience the architecture – and how all this relates to the idea of tectonics.” João is developing his Ph.D. project at the Escuela Técnica Superior de Arquitectura de Madrid. “It’s also related to the idea of structure,” he says. “Focused on two concepts developed by Gottfried Semper and Karl Bötticher, it’s connected with the idea of the structure and its esthetic potential, but also engages the idea of creating space, and specifically – creating common space.” Tim’s academic engagement with self-built and one-to-one built projects and João’s practice of drawing and painting with his students shine through their joint practice. They employ these techniques in their process, and, by building the projects, work towards understanding both the technique and the process better.

Project ALBERTO, Festival Materiais Diversos, Minde, Portugal, 2019 | Photo © João Barata

Project VIATICUS, Lisbon, 2018 | Photo © Diana Quintela

At the time of our conversation, JQTS practice was in the process of moving their office to a different Lisbon location, while overseeing several projects currently in development in Portugal and Germany. Although the pandemic did not change their long-distance work process much, they are curious to see how this global experience will influence the use and the design of public space. As João puts it: “We can observe the rise in the people’s tendency to look for detached houses, with private yard, private open spaces… Still, I think the common space is in the public space of the city, and it still is the most important – but, unfortunately, now completely turned upside down.” Tim finds the idea of bringing urban qualities to the countryside interesting and anticipates a rise in architectural projects focused on the topic. “We will all need some distance from this experience to take stock and evaluate the change,” João says, as Tim adds: “But it’s going to be interesting to see what comes out of it”.

Project GALLERY PAVILION, Walk&Talk Festival, Ponta Delgada, Azores, 2017. Curated by KWY Studio | Photo © Diana Quintela

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JQTS Calçada Marquês de Abrantes 43, R/c Dtº 1200-109 Lisboa Portugal Web | Email

by Sonja Dragović

#studiovisit #lisbon

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mauvetanuki · 5 years ago

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low kwy art nouveau is my jam

#oof #stuff #random #idk i just like the art style

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per-ineptia-ad-astra · 6 years ago

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Star Trek Gold Key #25: Dwarf Planet

Happy New Year everyone!

Next episode still isn’t coming until the seventh, but while I was re-organizing my excessive amount of books I came across something and thought, hey, this might make for a fun holiday treat. Besides, I felt bad leaving you guys on a cliffhanger for so long.

So this...

[ID: A photograph of a copy of Star Trek The Key Collection: Volume 4, with a cover showing Kirk, Spock and McCoy against a background of stars, with Sulu and Scotty in insets.]

...this is one of my Gold Key comic collections.

The Gold Key comics were the first Star Trek comics ever made, running for sixty-one issues from 1969-1979. What I have here are volumes three and four of a five-book collection of the comics put out back in 2004-2006, which actually only goes up to #43—the last two books were planned but never published.

Myself, I first found volume four here at a used bookstore not too long after I had first gotten into Star Trek. (I found volume three at another store quite awhile later. I apologize for not starting at the beginning here, but this is what I have. There’s no continuity anyway so don’t worry about that.) I was very much not prepared for what I was about to find inside.

For the thing about these comics is that they are incredibly and hilariously bad. The plots themselves wouldn’t always be out of place for Trek, but the combo of dodgy art, weird dialogue, and overall off-ness that gives the sense that the writers were working off a Wikipedia article about Star Trek instead of ever actually having seen the show, all adds up to a final product that doesn’t resemble Star Trek so much as a weird fever-dream version of Star Trek from an alternate dimension.

Don’t believe me? Let’s take a look.

[Image Description: A comic splash page titled STAR TREK: DWARF PLANET Part 1 showing Scotty, wearing a blue and white polka-dot loincloth, throwing rocks at a slimy green thing while saying, “What kind o’way is this for a lad like me to be dyin’--trampled by a hairy-legged—MICROBE!” The narration box at the top of the page says “Come along with the crew of the starship Enterprise as they race to solve the mystery of a world in which all life is rapidly shrinking to—oblivion!”]

Our issue for today, Dwarf Planet, opens with a splash page of Scotty in a spotted loincloth throwing rocks at a microbe, which I think gives you a pretty good idea of what we’re in for here.

[ID: A dark green Enterprise shuttle, landing on an empty airfield with a green field in the distance. The narration box reads, “Captain’s Log, Star Date 19:24:8—Lt. Uhura, Chief Comm-officer, has detected intelligent radio signals from the little explored area of space, sector 199-D!” Inside the ship Kirk is saying, “You were right, Lt. Uhura! There is advanced life on this planet! Mr. Spock and I will investigate!” while Uhura says, “With the captain’s permission, I’d like to accompany you!”]

The story itself, however, begins with an Enterprise shuttle—newly painted green, apparently—landing on this planet to investigate some intelligent radio signals. I don’t know why Uhura waited until they actually got down to the planet surface before asking if she could come with.

Anyway, they find a fully-built city, but it’s completely deserted, no one around. The only living thing are some bushes that turn out, upon closer examination, to actually be miniature trees. Kirk thinks this is weird, which is a bit judgmental of him. Maybe people on this planet just like their bonsai.

The mystery deepens when they find another city within a mile of the first—also abandoned, and much smaller than the first one. And I don’t mean smaller in terms of zoning. I mean the buildings are about two or three feet tall. Uhura speculates that there may have been multiple intelligent species of different sizes living on the planet, but there’s no sign of any of them now.

Kirk then recommends they split up, gang. He heads off into the countryside, where he finds a tiny rocketship that he assumes is a toy belonging to a child. Except it promptly flies off and returns with a bunch more ships, which trap Kirk with a net. He helpfully narrates all this as it’s happening.

[ID: A page of four panels showing Kirk being surrounded by small rockets which are firing weighted ropes at him, slowly driving him to the ground. First panel: “They’ve opened fire! Shooting heavy stranded wire!” Second panel: “They’re forming a net over me! I’m being captured by a pack of toy rockets!” Third panel: “Can’t break these things! And they’re pulling me down! ARRRRGGGGH!” Fourth panel: “One of them is landing! If I could only get my hands on the child who’s controlling these fantastic toys!”]

Thanks Kirk.

It’s not until the rockets land and open that Kirk finally realizes they’re not toys being operated by a child, but real miniature rockets being flown by tiny people, who shoot Kirk in the face with some paralyzing gas before he can get a message out over the communicator. One of the tiny people—speaking through an unexplained device on his forehead—introduces himself as General Kwy. I have no idea how to pronounce that.

[ID: Two panels showing Kirk laying on the ground while a small bald man in a red tunic and black pants stands on his chest. In the first panel he is saying, “You would like to say ‘I come to planet Kujal in peace! Why do you treat me so?’ Because you are a giant! And where one has come, others will follow!” In the second panel he says, “My people will become slaves to yours! Household pets or worse—sideshow freaks! Not while I live, giant! Never!”]

General Kwy has some weirdly detailed predictions about what’s going to happen if his people are discovered by ‘giants’ and he’s not having it. So he brings out a couple cranes to load Kirk onto a board, Gulliver’s Travels style, and has him wheeled off to a third, even smaller, city.

[ID: Kirk laying on a wooden wheeled board in front of a dais covered cloth, where a woman sits on a gold chair next to General Kwy. The general is saying, “Madame President, I’ve brought the giant prisoner mentioned in my report!” Kirk is thinking, “A woman leader! A more advanced world than many!”]

Kirk is brought in front of Madame President, which Kirk reminds us is So Advanced. Madame President is a little nicer than General Kwy and orders Kirk to be de-paralyzed, but then reveals that Spock and Uhura have been captured also. And stowed under the bunting on the dais. No, I don’t know why.

Madame President lays down some backstory: there was only ever one species of people on the planet, which was once human-sized. They “were a happy world until sudden explosions rocked [their] sun with fantastic intensity.” Don’t you hate it when that happens?

[ID: A panel with a narration box saying, “But, in time, these ceased and life resumed as before! Until, one day...” Below, someone in a gray robe is approaching a woman sitting at an oversized table, talking into a large rotary phone. The person in the robe is saying, “We are growing smaller with every passing day!” The woman is saying, “Yes! It’s true! Others report the same! But why?”]

Yes! It’s true! Others are reporting the same, right now, on my giant rotary phone.

The shrinking kept happening, causing the next generation to have to build an entirely new city, and the next generation to do the same. Eventually they figured out that because of the sun explosions “some new radio waves have caused all living cells to shrink.” Sure. Anyway, looks like now their civilization is doomed because eventually they’re going to shrink out of existence. Bummer.

Uhura points out that the Enterprise could very easily move them all to another planet, but Madame President gives the standard answer for why we can never just use the easy solution, which is “no we love our planet so much we’re all gonna stay here even if it kills us.”

General Kwy wants to have the three of them executed straight away, but Madame President belays that and lets them all go sit and eat tiny food and talk while she figures out what to do with them.

[ID: Spock, Kirk and Uhura sitting among the small buildings eating and talking. Narration: “Later, as crowds watch from a distance...” Uhura: “How could they think of altering their sun even if they had the ships to reach it?” Spock: “Quite impossible! All the harnessed power of the inhabited worlds of the universe could not destroy—or even alter—a star!”]

All that harnessed power of the inhabited worlds couldn’t alter a star! It takes inexplicable space explosions to do that.

Since altering the star is out of the question, Kirk proposes making some kind of antidote or shielding to deal with the shrink rays. But to do that, they’d have to fly close to the sun to gather samples of the rays. I don’t know how you capture samples of radio waves but he seems confident. Little does he know, however, that the general has an “audio-magnifier” trained on the trio to eavesdrop on their plans, because just listening would be too easy.

Madame President is okay with this plan. Suspiciously, so is General Kwy, though he proposes that they leave a hostage to guarantee they don’t just escape. Which doesn’t work super well when the people in question have remote teleportation technology, but he doesn’t know that.

[ID: A very pale-looking Uhura leaning over Madame President and saying, “In that case, Madame President, I volunteer to be the hostage!” Madame President is saying, “I was hoping the woman among you would show that courage! Congratulations, Lieutenant!”]

As a woman, I was hoping the woman among you would show courage! Here on my advanced world, we like it when women show courage. Have I mentioned I’m a woman recently?

Uhura is often—though not always—quite distressingly pale in these comics. With the way it varies I’m not sure whether it was intentional whitewashing or just bad coloring. Or some awful combination of both, maybe.

With Uhura staying behind, Kirk and Spock prepare to leave, although not before General Kwy stops them to give them a container of fruit as a gift. Absolutely no one bothers to check that the box does indeed contain fruit. Surprise! It doesn’t. It contains a couple of stowaway soldiers assigned to sabotage the mission. Because Kwy still thinks the humans want to make slaves of them all. Or something.

Part Two begins with the Enterprise approaching the sun, as Kirk says that they have no way of knowing whether the ship’s anti-radio shielding will stop them all from getting shrunk. That seems like something they should really have made sure of before doing this. Oh well, too late now.

As they get close to the sun, Sulu tries to raise the radio energy analyzer dish—it’s a thing, apparently—but it won’t go up. Apparently there’s a mechanical problem that necessitates someone go outside and unjam the thing. Even in the future, someone still has to occasionally go personally hit things until they work again.

Luckily, Scotty’s on the case, showing up all dressed in special anti-radio foil before Kirk even has a chance to give any orders. Kirk is a little miffed about this since he’s supposed to be the captain and all but Scotty doesn’t have any time for that.

Scotty struggles with the radar dish while everyone stands around watching and making helpful comments.

[ID: Four panels showing Scotty struggling to lift a radar dish on the top of the ship while Kirk, Spock and McCoy watch on a viewscreen. In the first panel, Scotty is thinking, “But it must be doin’ the job—or those rays would be shrinkin’ me already! Now to get the dish up into position! UGGGGGH!” Second panel, Kirk: “It’s jammed all right! Look at him struggling! I wish we could communicate with him!” Spock: “Our radio signals can’t get through that foil, either, of course!” Third panel, narration, as Scotty raises the dish with a ‘whooosh!’ and ‘klang!’: “Finally, with one mighty effort...” Kirk, from offscreen: “He made it! Nice work! Even you have to admit it, Bones!” McCoy, from offscreen: “Why, Captain? He’ll be telling us all about it for months! Ha-ha-ha!” Fourth panel, showing Scotty collapsed on the top of the ship, McCoy: “Hold it! Something’s wrong! He’s collapsed!” Kirk: “Emergency! Break out another foil outergear! I’m going after him!”]

I wasn’t aware that Scotty and Bones had any particular rivalry, but this writer seems to think otherwise.

Anyway, as you can see, Scotty promptly collapses, and since as we know there are only about ten people on the whole Enterprise Kirk has to personally go out after him. Instead of Scotty, though, he finds an empty suit.

[ID: Kirk, wearing a foil spacesuit and holding up another spacesuit, seemingly empty, while McCoy looks on and Spock leans over the suit with his hand to his ear. Kirk: “This is exactly what I found! But how could--” Spock: “Shhhhhh! Listen! Do you hear it?”]

I don’t know why, but that picture of Spock with his hand to his ear is cracking me up.

As you can probably guess if you’ve been paying any amount of attention to anything, Scotty done got shrunk. Apparently the radar dish tore a hole in the protective foil. Don’t design your radar dishes with sharp edges, folks. Since Scotty was so close to the sun at the time, he got a heckton of radiation (that’s a scientific term), so he’s still shrinking. In fact, Spock speculates that Scotty might quickly be reduced to microscopic size, meaning that “the very bacteria in the air will menace him as much as a prehistoric mammoth would us!”

An odd choice of metaphor, but we can’t have Scotty be menaced by mammoth bacteria, so they rig up a sterilized environment for him.

[ID: First panel, Spock and Kirk are looking at a glass dome with a tube going into it. Narration: “Full technical facilities of the starship are put to work on the problem and shortly...” Spock: “Under that dome is a complete antiseptic atmosphere! The ‘breather’ tube circulates sterilized air!” Kirk: “A microbless world! That should do it!” Second panel, McCoy is holding up a miniature Scotty wearing a blue handkerchief around his waist. McCoy: “I’ll say one thing, Scotty—that kerchief looks better wrapped around you than it ever did in my pocket!” Scotty: “And what’ll I be wearin’ next—a speck o’ dust for a fur coat?”]

This one’s for you, Scones shippers. I...guess. (???)

Luckily for Scotty it doesn’t take long to identify the mysterious radio energy, as someone helpfully announces over the intercom.

[ID: First panel, McCoy is standing next to the dome and looking off to side, listening to an announcement from the intercom. Narration: “Painful minutes tick away as Scotty continues shrinking..” Intercom: “Attention! We have identified the mystery radio energy!” McCoy: “Did you hear, Scotty? We’re half-way home!” Second panel, McCoy is looking into the dome, now empty with the handkerchief huddled at the bottom. Narration: “And then the dread moment...” McCoy: “He’s gone! Yet I know he’s still in there—too small for the eye to see!”]

Unluckily for Scotty, the two little soldiers have arrived on the scene, and take the opportunity to fire on the breather tube. McCoy quickly captures them and puts them away in convenient storage box, which is just an empty box with ‘storage’ written on it.

[ID: McCoy putting two miniature soldiers into a box labeled ‘Storage.’ McCoy: “We’ll settle with you later!”]

He seals the tube with a bandage, but it’s too late—down in the land of microbes, a germ has gotten in.

[ID: First panel, Scotty is facing off against a large green eyeless worm-like thing. Scotty: “Glory be! A microscopic monster! Some germ that broke through the sealed system!” Monster: “EEEYAWWWRRRR!” Second panel, the monster lashes out its tongue at Scotty, who narrowly dodges under it. Scotty: “Missed me! But how long can I keep this little dance goin’?” Monster: “UNNGAWWRRR!”]

Sure, that’s what germs look like. Why not.

As promised by the splash page, Scotty has to engage in some germ warfare, using some microscopic dirt boulders that also got in as ammunition. It’s thrilling. Truly.

With the germ monster defeated, Scotty gets retrieved by McCoy, who’s wearing some sweet micro-specs.

[ID: First panel, Scotty is being lifted by a thin pointed silver rod. Scotty: “I’m caught! Feel like a whale being harpooned! No—more like a sardine! But what’s doin’ it?” Second panel, Spock looks on as McCoy, wearing goggles with a giant scope in one eye, lifts the rod. Narration: “And, in the world of ‘giants’...” Spock: “Are you sure you’ve got him, doctor?” McCoy: “Yes! I can see him clearly through these micro-specs! He’s struggling like a demon!”]

They stick him under the newly invented anti-shrink ray, which hasn’t been tested because there’s NO TIME, but it works because of course it does. Everyone’s very happy about this.

[ID: The Enterprise flying away from the sun with a ‘fwooosh!’ while people onboard exclaim “Hurrah!” “Yahoooo!” and “Eeeyowwww!”]

Eeyowwww, indeed.

[ID: First panel, Spock and Kirk watching a small Scotty gesturing. Spock: “Listen! He’s trying to tell us something!” Kirk: “The first report by a human returned from the land of microbes!” Second panel, Scotty: “--I said, ‘Get me some clothes, mon! I’m poppin’ out of this silly thing!” Spock: “Ha-ha-ha!” Kirk: “Ha-ha-ha-ha-ha!”]

Ha-ha-ha-ha. Yes, that’s Spock laughing. I guess “Spock doesn’t laugh” wasn’t covered in the, I’m guessing, three sentence summary of Star Trek that the writers of this had to go on.

Anyway, they go back to the planet and tell Madame President that they’re going to deliver the anti-shrink rays so the population can be restored to proper size, although ‘proper size’ is not the size they’ve been used to being all their lives so one wonders if they really want that, but, eh, who cares. With General Kwy’s treachery exposed, Madame President has concocted a special punishment for him: he’ll be the last one on the whole world returned to full size. That’ll show him.

A happy ending (?), but of course we have to wrap up with something pithy.

[ID: Kirk sitting in the captain’s chair while Scotty and Spock stand nearby. Scotty: “--And I’ll tell you one thing, I’ll never make fun of another man’s size again!” Spock: “Experience is a great teacher!” Kirk: “Teacher? This kind of experience is a full professor!”]

Well, they tried.

#star trek #star trek Gold Key #recap tag #star trek Gold Key recaps #GK 25 Dwarf Planet #GK 25 Dwarf Planet recap

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lukabasyrov · 3 years ago

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The day before yesterday, this gentleman appeared to me in a dream. He looked like an Amidaist monk of the Jodo-shu school of the Kamakura era. At the same time, there was something inhuman about him. I realized that there was a certain yokai standing in front of me, and most likely a fox transformer, a henge-gitsune, it is possible that this is a kitsune of the chiko class. He was smiling and his smile was subtle and sly, speaking of hidden mischief, perhaps even cunning. In appearance, he was a plump, shaven-headed man of short stature, dressed in a light gray samue robe. The wide sleeves completely hid his hands. He looked at me affably with glowing yellowish eyes. His slightly pointed ears twitched at any noise coming from the street. I sat up in bed, he smiled even wider and bowed to me. I also bowed and asked if I could speak to him in English, since I don't speak Japanese. He bowed again and said that I could speak to him in my native language and he could easily understand me. I asked him who he was and how I could serve him. My guest replied that his name was Tachibana Heihachiro, and immediately assured me that he was ready to serve me. At the same time, he bowed again and again politely and humbly. Then I asked about the purpose of his visit. Tachibana-san replied with a smile that he had come to see me "in person," as he put it, accompanying his words with another bow. After that, Tachibana-san continued, he can't tell me the whole point right now, but he will tell me everything in detail during our next meeting. At that moment my phone rang and I apologized to my guest and took it. It was the alarm clock that went off. When I looked up, my smartphone was gone. Now I am waiting for my new acquaintance to come again and tell me why the Japanese kitsune of the 12th century AD needed me and why he made such a long, long journey. I'm intrigued. #yokai #dream #kitsune #monk #japan #werefox #japanese #lukabasyrovart #lukabasyrov #art #visioneryart #йокай #сон #кицунэ #монах #япония #лисоборотень #оборотень #ЛукаБасыров #художник #виженериарт #妖怪 #夢 #キツネ #日本の夢 #幻視芸術 #橘 #百物語怪談会 #ルカバシロフによるアート #ルカバシロフ (at Saint Petersburg, Russia) https://www.instagram.com/p/CVN2_1-KWy-/?utm_medium=tumblr

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kwyndolendraws · 2 years ago

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I’m in a chokehold,I get it this time

#welcome home #wally darling #arg #fanart #kwys art #I love the characters in this

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kwyndolen · 2 years ago

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No turning back

#art #rpgstuck #dnd art #homestuck #snake #environment #I love torturing my players :)#kwy art

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agendaculturaldelima · 10 months ago

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#FeriasyFestivales #FotografiaPeru

📣 "FERIA FOTOGRÁFICA"📸

💥 El evento cuenta con la participación de artistas y colectivos, quienes nos presentan lo último de sus producciones visuales en formato impreso. 📖 📕📚🤩

🔎 En la Feria encontraremos libros y publicaciones fotográficas, cámaras, rollos, baterías, cargadores, lentes, trípode, tapas, filtros y diversos accesorios para la práctica fotográfica.📷🤩📸

📝 PROGRAMA:

📖 Presentación de los Fotozines: "Le Filin" y "Frecuencia(s)" de Aura Visual📷

📖 Presentación del Fotozine: "Parpadeo Urbano" de Carlos Ramírez📸

🖼 Collages Fotográficos de Obrera Visual 📸 👁

📖 Presentación del Fotolibro: "Muak" de Daniboi 📸 💙

📖 Presentación del Fotozine: "Crisis" de Fxllfxmxdxs 📸 🔥

📖 Presentación del Fotozine: "Génesis" de Ternura Visceral📸

📚 Antología de Fanzines de Búnker Fanzine. ✏🖍️💪

📸 Archivos y Colecciones Fotográficas de Cámara Mecánica, 📸📚

📖 Presentación del Fanzine: "Gamebook sobre edición artesanal & electrónica" de Lumpérica Editorial📚

📖 Presentación del Fanzine Poemario: "Pensamientos Polarizados" de Exkawai📜✒

🎁 FERIANTES: Aura Razzetto / Bellota Art / Mostrofoto / Daniboi / Obrera Visual / Paragulla Studio / Loco Du Brazil / Cámara Mecánica / Búnker Fanzine / Fxllfxmxdxz / Rarezas Crust / Nada Colectivo / Local Fumigado /

🏰 BIBLIOTECA DE PUBLICACIONES/FOTOZINES: “Santa Elisa” de Boris Mercado / "Multiverso Callejero" de Jorge Sueno Lerzundi / “Psychopompós” de Charlotte Béja / “Callejón Oscuro” / “El Tetas” de Joel Luna / “3:39” de Giros / “Sin Título” y “Apuntes II” de RecPai / “001--------Lumina” de Uxe Digital / “Abril” y “Busco un Hogar” de Munay / “s/t” de Zapata / “Vendese” / / “Toma de San Marcos” de Maldeojo / “ExexexexexexexexexexeX” de Ene / “Lanza!” / “Ruta Torontel” [fotopoemario] / “Palabra Viva” de Claudia Cabieses y Anamaría McCarthy / “Xaketeadizimos” de Anbesa / Revista Nada / “Por Rencor al Arte N º 13” / “Nro” de Nra Lolita / / "Prólogo" de Carolina Cochachez / "Viaje Dual" de Erizo Fotográfico / "Panterita" de Nada Colectivo/ “Consideraciones sobre el Dolor” de Sharon Gonzáles Parra📒📙

📕📒📓 FOTOLIBROS: “The Art of Seeing [Reuters]” / “R3VQLVX1QN” de Fernando Fujimoto / “11/20” de KWY Ediciones / "Conductas Urbanas" de Óscar Pacheco / La Práctica de la Fotografía Amateur”/ Forget Not! (bloodthirsty, genocidal and polpotian path) / “Ecuador un paseo natural” de Alois Speck / “La Encomienda. En Chile” / “Vírgenes ” de Ana de Orbegoso / Manual de Técnica Fotográfica📘📗📙

📽 La jornada finaliza con la proyección de Videos y Cortometrajes Experimentales, Intercambio de Stickers e Intervenciones Urbanas...🎬🎥📼🌛👀🍿🎉

📌IMPERDIBLE:

📆 Sábado 18 de Mayo

🕒 3:00pm. a 10:00pm.

🎪 Killkachina (jr. Quilca cdra.1, cruce con jr. Camaná - Centro de Lima)

😎 Interesadxs en participar, escribir al DM @nadanncolectivo 📧

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astrolotte · 2 years ago

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Is it your art tho? You seem to have a different art style every day

"ignore that signature, my friends added it" is a VERY suspicious sentence, y'know. And going to @dr.milesfly on Instagram shows someone who seems very different from you.

And reverse google image searching it brings up: https://twitter.com/TheInbetweenfc/status/1590539043380817922?s=20&t=KWy-07M_zyoMJW0UnwEV4w which doesn't appear to be something you're involved in.

Don't steal art, please..

Charlie Emily REAL????(pls ignore that signature thats my friends, they like putting it on my art)

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mujeresartistaseag-blog · 6 years ago

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Nuevo realismo

Durante la segunda mitad del S.XX el ser humano se convirtió en el punto de partida para la reflexión artística. En Francia, en 1960, varios artistas elaboraron el Manifiesto de los Nuevos Realistas (16 de abril de 1960) que han tomado conciencia de su singularidad colectiva, se comprometían a la apasionante aventura de lo real percibido tal como es y no a través del prisma de la transcripción conceptual o imaginativa. Estos artistas están abiertos al mundo que los rodea y pretendían acabar con la separación entre el arte y la vida, realizando sus obras con materiales de la vida cotidiana. Este movimiento es una reacción en contra del aislamiento de los informalistas y la vuelta a los orígenes, ven el arte como una manifestación más de la cultura y la naturaleza humana. Sus obras se centran en el objeto que experimenta un cambio rápido por la producción económica, y aunque cada autor lo trata de manera distinta, todos los tratan dentro de un proceso de recuperar, anular o pegar, más que de creación en el sentido tradicional, coincidiendo con el Pop. Buscan alejarse de lo artesanal, sin dejar huellas ni tener una implicación física en la obra, aunque deben todo o casi todo al bricolaje y a la industria, a los materiales de la nueva química, a los bienes de una sociedad que empieza a considerar con un cierto entusiasmo las posibilidades o el placer de formar parte de la sociedad de consumo.

1. Niki de Saint-Phalle

Altos del Sena, Francia, 1930 - San Digo, California, 2002.

Tuvo una infancia difícil y tormentosa que marco su obra, su padre abusaba sexualmente de ella y su madre le recordaba constantemente que fue una hija no deseada, culpándole de las infidelidades de su padre. Estudio en un internado de monjas del que se le expulsó por pintar de rojo las hojas de los genitales de una estatua de su colegio. En un primer momento trabajo como modelo para revistas cómo Vogue y Harpr´s Bazaary, después de forma autodidacta empezó a elaborar objetos y relieves de yeso que fueron expuestos en 1956 en Saint-Gall.

Conoció a su primer marido con el que vivió en los alrededores de la Universidad de Harvard hasta que se mudaron a París escapando de la caza de brujas de 1952. Un año después Niki sufrió una crisis psicológica, lee diagnosticaron esquizofrenia y fue tratada con electroshocks. Después de esta crisis de adentro más en el mundo del arte, donde sus obras estaban influenciadas por los maestros medievales italianos y del materialismo de Jean Fautrier. Conoció a Jean Tinguely y a los Nuevos Realistas, y realiza la serie Disparos, en los que participan todos sus amigos. Esta agresividad basada en un trasfondo biográfico, se ejerce durante sus exposiciones principalmente en Estocolmo, París y Copenhague, lo que le permite integrarse en el Nuevo Realismo. En sus últimos años sufrió enfisema, asma y artritis, se cree que es debido a la exposición a los vapores y petroquímicos que se encontraban en los materiales de sus obras, pese a todo nunca dejo de explorar nuevas vías, nuevas tecnologías y nuevas maneras de usar el arte media. Niki fue portavoz de importantes conflictos políticos-culturales, en sus obras refleja la violencia de los primeros años de la Guerra de independencia de Argelia contra Francia y afirmaron su rebelión como parte de la segunda ola del feminismo. En su obra Nana vemos cómo destaca las formas curvas de una forma extravagante para celebrar la figura femenina fecunda. Fue una de las primeras artistas públicas de fomentar la conciencia sobre el SIDA y critico la administración de George W Bush. Una visita al parque de Güell de Gaudí fue determinante para su obra, donde comprendió que quería realizar obras para espacios públicos, decorando este con prostitutas, diosas, parturientas, novias y sus célebres Nanas, gigantescas y multicolores figuras femeninas. Sus obras más destacadas es la de un mujer yacente, embarazada, de 29 metros de largo, a la que los espectadores podían “acceder” a través de su vagina, esta obra fue clausurada tres meses mas tarde. Estas Nanas fueron la época más oscura de Niki, y a continuación empezó una época de luz y de alegría, donde la mujer paso a ser en una figura de culto, de deseo, voluptuosa, brillante, muñecas inmensas, multicolores y optimistas que mostraban las ganas de vivir.

2. Lourdes Castro

Funchal, Portugal, 1930.

Realiza obras de los movimientos artísticos del Arte Pop y del Nuevo Realismo, en pinturas y en instalaciones. Asistió a la escuela de Arte de Lisboa, per fue expulsada en 1956 por no cumplir con el canon estético académico del sistema de educación. Expuso en 1955 de forma individual Funchalense Club, en Funchal. También participo en algunas exposiciones colectivas en Lisboa. Partió a Munich y finalmente a París con su marido René Bertholo. En 1960 forma parte del espectáculo KWY en SNBA que marca el comienzo de los años 60 en la escena del arte portugués. Fue residente en la DAAD (Deutscher Akademischer Austauschdienst), en Berlín entre 1972 y 1979. Después de 25 años en París, volvió a Funchal, donde vive actualmente. Ha sido galardonada con la Medalla del Concejo Regional Salon de Montrouge, París, 1995; el Premio CELPA / Vieira da Silva, 2004; Gran Premio EDP Lisboa, 2000. Está representado en varias colecciones, públicas y privadas, incluyendo: Victoria and Albert Museum, Londres; Museo de Arte Moderno, La Habana; Museo de Arte Moderno, Belgrado; Museos Nacionales de Varsovia, Vroclaw y Lódz; Centro de Arte Moderno, Calouste Gulbenkian Foundation, Lisboa; La Fundación de Serralves, Porto. Últimas exposiciones individuales de Lourdes Castro: Sombras alrededor de un Centro, Fundación Serralves, Porto, 2003; El Gran Herbario de las Sombras, Fundación Calouste Gulbenkian, Lisboa, 2002. En 2000, representó a Portugal en la XVIII Bienal de Sao Paulo, junto con Francisco Tropa.

3. Jeanne - Claude

Casablanca, Marruecos 1935.

Tuvo una infancia difícil mientras vivía con su padre, cuando su madre combatía en la Resistencia francesa. Después se mudo con su madre y su nuevo marido a París donde conoció a su marido, Christo. Con el forma pareja artista y como era de esperar la imagen de su marido prevaleció con el tiempo aunque formasen una pareja. Apenas hay información de Jeanne, salvo que murió por una aneurisma y su cuerpo fue donado a la ciencia para investigar. Realizaban instalaciones artísticas ambientales, similares al Land Art, donde el material principal era la tela que envolvía gigantescos edificios, o extensas áreas públicas. En 1995 forraron el edificio del Reichstag en Alemania y en 1985 cubrieron el Puente Nuevo en París. También construyeron una cortina de 39 kilómetros de largo, llamada Running Fence, en la comuna francesa de Marin en 1973. Su trabajo más reciente es The Gates (2005), el que consistió en instalar 7.503 marcos metálicos en el Central Park de Nueva York. En febrero de 1964, Christo y Jeanne-Claude llegaron a Nueva York. Después de un breve regreso a Europa, se establecieron en Estados Unidos en septiembre de ese año. Aunque eran pobres y con un deficiente manejo del idioma inglés, Christo expuso su trabajo en diversas galerías, incluyendo la Galería Leo Castelli en Nueva York y la Galería Schmela en Düsseldorf, Alemania. Christo comenzó a envolver vitrinas de tiendas. La venta de las vitrinas ayudó a financiar deudas y otros proyectos artísticos de la pareja. Su siguiente trabajo, un paquete de 1.200 m³, fue construido con la colaboración de estudiantes entusiastas. A comienzos de 1968, Christo y Jeanne-Claude abandonaron la Galería Leo Castelli para mantener su autonomía.

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architectuul · 5 years ago

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Studio Visit: KWY.studio

The visit to KWY.studio was the first one from our series to happen in the context of the COVID-19 pandemic. We sat outside a café in Alfama, near the office which the KWY team may soon be leaving. “We’ve outgrown the premises”, says Ricardo Gomes, one of the founders and current principal, noting that the team has doubled in size since the end of 2019. After a period of slowing down brought about by the coronavirus, things are moving forward again.

KWY.studio in Alfama, Lisbon. | Photo © Sonja Dragović KWY.studio was founded in 2009 in Berlin by architects Ben Allen and Ricardo Gomes, and curator and editor James Bae from Los Angeles. Named after a magazine published in Paris in the 1950s and 1960s by an international group of artists-collaborators, KWY.studio was focused on creative collaboration from the outset. “The idea for this collaborative practice was to work with someone else on every single project we do”, Ricardo says, joking how the array of things they have done over the last decade might bring about a certain sense of cacophony. The list of collaborators is indeed long and varied; it includes artists, writers, curators, educators, designers, and other architects. Collaborations result in the body of work now scattered all over the world: at any given moment, the practice is involved in about 10 different projects in different places. Rather than trying to break onto the international scene, this studio seems to have always been there. Ricardo explains KWY’s international position as an organic one, tied to the studio’s beginnings in the creative scene of Berlin, and grown from the professional and personal ties and networks of its founders and partners. The current crisis brought about by the coronavirus highlights some of the challenges of such interconnectedness by making international travel more difficult. Still, as Ricardo puts it, “this is the only way to work”.

KWY.studio considers collaboration to be the central part of their creative process. Although collaborations differ and change depending on the project, which makes them challenging to typify or map their exact flow, the process always stays the same: the original idea is tested and rigorously debated until it becomes the best possible solution within the given constraints. “It's a good thing, to not have this preconceived idea of the result”, Ricardo says, pointing out that the practice tries to keep the design processes relatively open and non-hierarchical as well: “The collaborative component is important, also within our studio: I try to give the guidance and steer the process a little bit, without necessarily being the one who approves or disapproves of the solution.”

One of the numerous collaborations with SUPERFLEX, produced at Tate Modern in 2017; “One Two Three Swing! challenges society’s apathy towards the political, environmental and economic crises of our age”. The installation has since been presented in Bonn, Copenhagen, Dora, and AlUla. | Photo © James Morris

Walk&Talk: Public Art Circuit curated by KWY.studio in São Miguel, Azores, Portugal, in the summer of 2017. Eleven artists and art collectives were involved, creating “interventions in space which call for a sense of a total work of art”. | Photo © Antonio Araujo

To be good collaborators, young architects need to know that, as architects, they can cover an array of different positions within the process – that they can do many different things, not all of which is architecture. As an educator who used to occupy teaching positions at UDK in Berlin and at DIS Copenhagen, this is what Ricardo sees as important for the new generation, along with the understanding of the necessity to take the time to learn, to adapt, to overcome the problem. In his own words: “Many architecture students, or people just out of university, have very transient work experience; they want to be in one place for six months and then move on. We always tell them that we would rather have a minimum of one year engagement… We get hundreds of applications, and that’s truly a gift. But it seems that many young people today don't see the fact that for you to learn something, you actually need to be in a place for some time, and it takes more than a few months. There is this belief that if you are unhappy, you must move. Well, sometimes it's OK to be unhappy for some time, to use that time to learn, to understand, to resolve a problem instead of just leaving.”

Donald Judd cubes in Marfa, Texas. Thinking about students today and remembering what architectural education and research were like before the Internet became ubiquitous, Ricardo tells a story of how important European exhibitions of Donal Judd were to him personally, and how different the experience of tracking down important works, artists and places was in the not-so-distant world of the year 2001, in the era before Google Maps and smartphones. | Photo via artists-network

Après Vous, Le Déluge, collaboration with SUPERFLEX. The installation shows the projected water level rise by 2050. “By physically showing the likely adverse consequences of our collective conduct, the artwork emphasises that we have no choice but to radically transform the way we live together.” | Photo © Marco Cappelletti

The stance of KWY.studio towards the issues society is facing today is reflected in their work. The practice doesn’t focus on activism but sees political and social considerations as vital to any decision that the architect makes - as inherent to architecture. One of their recent works responding to the issue of climate change is Après Vous, Le Déluge - another collaboration with SUPERFLEX, whose art often deals with this topic. This installation in Galeries Lafayette in Paris shows what the water levels will be in 2050 if nothing is done to stop the climate disaster. According to Ricardo, in addition to collaborating in such conceptual works, KWY.studio is interested in coming up with long-term architectural response to the rising sea levels: “We have been working, also in collaboration with SUPERFLEX, on projects with the idea of potential structures built above ground now, which will eventually be submerged. How do you deal with such a request today? How do you build something today that you know will be submerged, or at least under pressure because of climate change?”

Planning for Protest, September - December 2013, Lisbon Architecture Triennale | Photo via KWY.studio

Today it seems particularly relevant to mention that I first got to know KWY.studio through their work on Planning for Protest, an exhibition and a publication presented at Lisbon Architecture Triennale in 2013. As a project which examined the role of architecture in shaping, defining, or limiting the flow of protest within urban space, it seems to be another work of KWY.studio resonating with the current crisis. Ricardo points out how Planning for Protest was inspired by a wave of unrest at the time of a deep economic crisis, whereas the issues we’re experiencing today are different, more complex, just as their underlying causes. Although the Planning for Protest publication has been in exhibitions over the last couple of years, the popular interest for the project grew noticeably over the last couple of months. As Ricardo explains the sudden surge in popularity of the project’s old Facebook page: “I guess there are more people searching for protest and space and architecture and coming across this, which is quite interesting.”

It’s evident that the repercussions of the multifaceted contemporary crisis affect everything, from how we work and what we read, to how we protest and where we go. As our conversation draws to an end, the unexpected quietness of summertime in Alfama tells plenty about how the city of Lisbon has changed, how tailored to the masses of tourists it became, how empty without them. “There’s a certain uncertainty,” Ricardo concludes, as we leave the terrace in Campo de Santa Clara.

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KWY.studio Travessa do Conde de Avintes 1, 1100-155 Lisboa Web | Email

by Sonja Dragović

#studio visit #lisbon

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