Alvar Aalto Studio Tour
For the second consecutive edition of London Design Biennale, the Domenic Lippa team at Pentagram has created the visual identity and promotional materials. As with the previous identity, a restricted colour palette of orange, black and white is used.
The newest cover of National Geographic is set to become one for the ages. As the world continues to drown in single-use plastic, the iconic magazine has launched a multi-year initiative called Planet or Plastic? The newly unveiled June 2018 cover illustration by Jorge Gamboa is a heartbreaking visualization of the reality we’re collectively facing.
What happens when art meets technology? Meet two companies using their specialties in photography and virtual reality to bring viewers inside the works of Damien Hirst and Zaha Hadid.
Captured at the dead of night, Australian photographer Tom Blachford’s latest series “Nihon Noir” captures Tokyo’s metabolist buildings.
Currently on show at the Gladstone Hotel is Ryerson University’s third-year Image Arts photography students have come together in a collaborative effort to present Fragments, a visual dialogue which centers on human experience.
Through large-format photographs, and over the course of several decades, Edward Burtynsky has chronicled the massive impact of manufacturing on the environment. Since the early 1980s, he has been documenting sites in Ontario, across Canada and internationally. Most recently, he has focused on global oil fields as well as the dramatic impact increasing demands for fresh water has on our landscapes. Often photography from an aerial perspective, he masterfully captures natural light conditions, illuminating the subjects without glorifying them. Through compelling and immersive visuals, he draws sustained and urgent attention to the complex effects of human life on this earth.
A fish dying in the arms of a man is what first strikes us upon entering Jonathas de Andrade’s exhibition. The film O peixe (The Fish) depicts in ten vignettes fishermen cradling their catch, the two species merged in a morbid embrace of sinew and scale. The scenes in the film, simultaneously brutal and tender, confront the viewer with the tension and pathos of the dying process, up until the fish takes its last breath. At that exact moment, the scene moves on to the next couple – man and fish – and the tension begins again, transforming the single action, through endless repetition, into a ritual. The predator, the human, is stronger than its prey, the animal. He dominates it, yet he devotes himself to the fish throughout the process of its passing.
Alleyways, lanterns, neon signs and merchants are the cinematic backdrops of local Japanese photographer and artist Masashi Wakui. His quite and intimate moments provide the spectator with a view of Japan that is appreciated by those who like to wander the streets and discover cities on their own accord.
Souvenir d’un Futur documents the life of senior citizens living in the “Grands Ensembles” (large housing projects) around Paris. For the most part erected between the 1950s and the 1980s to address the housing crisis, urban migration and the inflow of foreign migrants while meeting modern comfort needs, these large estates are today often stigmatized by the media and marginalized by public opinion. In sharp contrast with these cliché views, and fascinated by these projects’ ambitious and dated modernistic features, French photographer, Laurent Kronental was moved by the living conditions of these urban veterans who have aged there, and who, he feels, are the memory of the locus. Kronental felt a need to examine their living conditions and shed light over a sometimes-neglected generation. Exposing these unsung and underestimated suburban areas is a means to reveal the poetry of aging environments slowly vanishing, and with them, the memory of modernist utopia. His photographs are tinted with melancholic, yet brave disenchantment. The majestic mass of the futuristic vessels seems to drift across an ocean of concrete. …