Discover the new capsule collection from men's Winter 2021 collection launching in boutiques and on.dior.com/kennyscharf-capsule starting July 2, a celebration of Kenny Scharf's irreverent aesthetic that continues the creative dialogue between Kim Jones and the American artist. Ace, king and queen of hearts card symbols (an allusion to Monsieur Dior's fondness for playing) have been reinterpreted and mixed with the iconic 'Dior Oblique' as bandana prints accompanied by individual motifs on a range of contemporary clothing and accessories. In addition, an exceptional numbered box contains a deck of playing cards featuring the collection's special imagery.
© Video: Martin Neumann and Julien & Quentin
Photo: Adrien Toubiana
Partnership done in collaboration with Artestar, a global licensing agency and creative consultancy representing high-profile artists, photographers, designers and creatives.
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同學辦的演出,
有在台南的朋友;
別錯過囉。
《臺南公園的身體地圖一百日行走》
Body Map in the Tainan Park -100 Days Strolling
周書毅 x 稻草人現代舞蹈團
Chou Shu-Yi x Scarecrow Contemporary Dance Company
台南公園, 彩虹舞台
Tainan Park, Rainbow Stage
5/13-5/31 (Wed.-Sun.) 10:00-18:00
◇尋◇公園散步身影展《臺南公園的身體地圖一百日行走》Searching - Dance video Exhibition
一起散步,帶著手機,尋找十個散落在公園裡的記憶密碼(QRcode),等待你去發現~
5/23-24 (Sat.-Sun.) 15:30-18:00 (*預計16:00開演)
◆見◆百日行走的記憶終曲《臺南公園的身體地圖一百日行走》Seeing - Live Performance
昔日公園裡的實驗林場、運動場與升旗台,如今閒置的彩虹舞台與草地,我們將在此分享屬於你的故事。
Instagram : https://www.instagram.com/dancinginthepark/
Info: 06-2253218
製作人:古羅文君
藝術總監:羅文瑾
編舞/影像演出:周書毅
演出:羅文瑾、李佩珊、楊雅鈞、林修瑜、何佳禹、蘇微淳、孟凱倫
音樂設計/演出:王榆鈞
服裝設計:邱娉勻
影像創作:周延賢
裝置設計:詹家豪-守宮設計
排練助理:孟凱倫
舞台監督:郭姝伶
平面設計:陳文德
攝影:Yinyun Lu、周延賢、劉人豪、許斌
Producer/ Company Director: Kulo Wen-Chun
Artistic Director: Luo Wen-Jinn
Choreographer/Dancer In the Film: Chou Shu-Yi
Performers: Luo Wen-Jinn, Li Pei-Shan, Yang Ya-Chun, Lin Hsiu-Yu, Ho Chia-Yu, Su Wei-Chun, and Wang Yu-Jun, Meng Kai-Lun
Music Composer: Wang Yu-Jun
Costume Designer: Juby Chiu
Film Director: Bogi Jou
Installation Designer: Chan Chia-Hao - GeckoDesign
Rehearsal Assistant: Meng Kai-Lun
Stage Manager: Kuo Shu-Ling
Photographers: Yinyun Lu, Bogi Jou, Liu Ren-Haur, Hsu Ping
Graphic Designer: Winder Chen
「在有限的人數下相聚,來公園戶外散步看表演,找到一個屬於你與我們之間的美好距離,尋見與自己生命相處最好的選擇,希望這次重逢,能帶來生命力量!
2019年秋天,周書毅x稻草人現代舞團 x 臺南藝術節《臺南公園的身體地圖一百日行走》於百年台南公園裡創造了人們與現代舞邂逅相遇的緣分,大家共處一個自然的空間,隨興的或坐或走,在某個午後,微風吹拂、落日暖照下,每個人分享著屬於自己的公園故事,和我們的舞者們交會彼此對當下匯集歷史與人文的感動。
今年春末夏初我們將再次重返原地,邀請舊雨新知好朋友們重聚相約在公園散步,「尋」「見」彼此人生故事的共鳴交會,讓觀賞舞蹈演出成為日常的一部分,在樹影、身形、舞蹤的輪廓交疊之間,聆聽心底深處的記憶聲響,從公園的百年歷史探望自身微敘事的生命關聯。
In the autumn of 2019, Chou Shu-Yi x Scarecrow Contemporary Dance Company x Tainan Arts Festival "Body Map in the Tainan Park -100 Days Strolling" created the opportunity for people to encounter modern dance in the century-old Tainan Park. Everyone was comfortably and casually sitting, standing, and strolling in a natural environment together. In those afternoons breezing under the setting sun, people shared their own stories about Tainan Park with our dancers, and both were touched by the vivid collection of history and humanities at those beautiful performing moments.
This year, at the end of the spring and early summer, we will return to the same site again. We sincerely invite old friends and new friends to reunite and walk in the park again. Let us "search" and "see" each other's life story and let watching the dance performance become parts of our daily life activity. Together, let us listen to the sound of memories deep inside our hearts through the silhouettes and traces of dancers in the trees, and let us visit and connect our own life stories with the history of the century-old Tainan Park.
contemporary photographers 在 VOP Facebook 的最佳貼文
新刊預覽~~✨👀
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來,《攝影之聲》持續關注影像書寫、歷史與文化樣態,隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇,邀請攝影史研究者共同參與,推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿,在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中,作為攝影與歷史論述的反思與參照。
其中,金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置,揭示非主流的創作脈動,何以是日本攝影史論中需要補遺的重要章節;陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮,以及以日本攝影雜誌作為平台的競賽文化的可能影響,呈現出戰後台、日攝影界另類的民間交流場域;朴平鍾細述自日本殖民統治結束後,韓國攝影在現實主義與現代主義之間引發的論爭,疏理戰後韓國對於攝影認知的辯證與反省;戶田昌子析論1950年代的日本攝影表現,在脫離戰時的壓抑並逐漸獲得解放之後,受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印;張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識,檢視戰後台灣的影像操縱、治理機制,以及國族攝影史本身的建構和詮釋問題。
攝影,在與光學、化學、政治社會學、文化研究,乃至符號學與精神分析等學科譜系的結合中,已不斷延展、流動、重構,打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論,勾勒攝影理路的發展形貌,本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗,並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇,為濕版法在1850年代於香港興起的考據,展現不同的史料論證。
此外,本期我們特別專訪陳傳興,刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片,一探銀鹽與光交集而生的影像喻意,以及他不停思辨的攝影本質論題。同時,我們也介紹高重黎的聲音與投影裝置新作,析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元,本期專訪日本設計師森大志郎,分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛,這些年我們仍努力在有限的資源下,持續進行資料考掘整理、訪談記錄等基礎工作,緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持,讓我們在新的一年裡,繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
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Voices of Photography 攝影之聲
www.vopmagazine.com
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