A big earthquake causes a major leak in a big nuclear power plant leading to the biggest nuclear disaster ever known to man killing billions in the years to come.
Meanwhile turns out this was all a well planned operation; a part of larger top secret depopulation plan ran by a small select families (aka ‘the 1%’) who own and run everything from behind the scenes.
Using advanced weather modification machines to create a geographically focused earthquake they broke the nuclear plant’s reactors leading to several core meltdowns – eventually leaking and poisoning earth’s humankind for decades to come.
We discover that ‘the 1%’ have actually been working with extraterrestrials since the beginning of time, being part-alien themselves – they have the technology to survive the radiation.
Our only hope is New York City Police officer John McClane who was cryogenically frozen (along with Sylvester Stallone and Wesley Snipes) and now reawakened by “hacktivist” collective, Anonymous to save us from the reptilians.
2 pieces from ‘The Illustrated’ series will be exhibited at the “BIG DEAL NO 5” group exhibition.
Curated by Vanya Balogh & Cedric Christie, it will be held in level -3 at Q-Park car park (Cavendish Square) – yes, a car park.
You WANT to be there.
Left: Marnie Scarlet by Rosco Brittin Graphics tablet
2013, 42 x 59.4 cm (A2), Edition of 8 £285 (+£30 with mounting)
Right: Rachel Bennett by Hicks Graphics tablet, 2013
42 x 58.4 cm, Edition of 8 £285, (+£30 with mounting)
Facebook event / Private View on Thursday, 17 October 2013, 18:00 – 22:00. Free entry.
Exhibition runs: 18th Friday until 20th October Sunday. Open daily from 11am – 7.30 pm. Free entry.
Q-Park Oxford Street, Level -3. Cavendish Square London, Greater London W1G 0PN
More info about the exhibition:
In Association with Geoffrey Leong
Curated by Vanya Balogh & Cedric Christie
” Supporting Arts is an important way of bringing incredible works to be evaluated and engaged with by the public, giving them the opportunity to review art in a different way. This multi media feast is curated by two renowned international artists Vanya Balogh & Cedric Christie through their continuous presence in various studios. In this case expect the unexpected, from organised chaos to uniform structure and much more. I believe this is both original and inspiring show which brings an element of fun to those who view it. There really is nothing like this in the world of arts that we see today, the engaging of artists and the public in perfect harmony.”
BIG DEAL No5 > ARTISTS ARE PRESENT
Press Preview 4 – 6pm
RICHARD NIMAN > NICOLA HICKS > PAUL SAKOILSKY
TIZIANA MANDOLESI > MICHAEL SANDLE > RAY GANGE
RAUL PINA > PETULA GIRNDT > STEVE SMITH > FRANKO B
TWINKLE THROUGHTON > STEPHEN HALL > LIZ SHERIDAN
SIAN-KATE MOONEY > CALUM F. KERR > REBECCA SCOTT
BEN HOPPER > GERRY DOHERTY > FORGE & CUTTER
MARK O ROURKE > DANIELLE HODSON > CEDRIC CHRISTIE
OLIVER PERKINS > MIYUKI KASAHARA > HEDLEY ROBERTS
GENERAL HARM > IHTGW CONTINENT > JOHN STEPHENS
SLOBODAN TRAJKOVIC > DANNY POCKETS > FITZY
DEAN TODD > LILI REN > SOPHIE ASHTON > PAUL FREUD
TOMAZ KRAMBERGER > MARIA TERESA GAVAZZI
MICHAEL PETRY > VALERIE DRISCOLL > MARK WOODS
MARISA POLIN > ROBERT BARTA > SARAH DOYLE
GZILLION ARTIST > NADIA BALLAN > MARTIN SEXTON
LEE CAVALIERE > PETER ROSTON > REKHA SAMEER
ROMAN TAHER > MARK JOHNS > ALY HELYER
JOE BARRELL > TRACEY MOBERLY > ROBERTO EKHOLM
ALDO GIANNOTTI > LEE MAELZER > JAMES ALEC HARDY
TASLEEM MULHALL > VANYA BALOGH > SOOZ BELNAVIS
PETER GRAVELLE > MARY-LOUISE JONES > ART HATE
AGNETHA SJOGREN > RICARD DUCKER > JIM BOND
LOUISE RILEY > PATRICK DODDS > KAROLIN SCHWAB
GORDON FAULDS > NEGIN VAZIRI > PIERS JAMSON
ANNA NIMAN > PATRICK MORRISEY > SARAH SPARKES
CLIVE HANZ HANCOCK > JUDE COWAN MONTAGUE
LORENZO BELENGUER > EVA RABOSO GARCIA
MARK MAXWELL > AMY SHARROCKS > STIMULUS LTD
JESSICA VOORSANGER > MINEO KATO > AYA FUKAMI
CRITICAL DECOR > NADER BARHUMI > LOUKAS MORLEY
MICHAEL GRIEVE > CHRISTINA MITRENTSE
JONATHAN RAVEN > IBBY DOHERTY & CHARLIE WHEATLEY
SUSAN STOCKWELL > ERNESTO ROMANO > JAKE MODERN
ELISA CANTARELLI > RUSSELL HERRON > TINSEL EDWARDS
ANDREW STANNEY > MARIA JOSE ARCEO > TIM BURNS
RITVA RAITSALO > THORBOJRN S. ANDERSEN > MONA K
ALEX NOBLE > THOMAS DRASCHAN > IGOR KUDUZ
PASCAL ROUSSON > SUSANA SANROMAN > PAUL TUCKER
DANIEL PASTEINER > SOPHIE DICKENS > MICHAEL PENNIE
CATHY DE MONCHAUX & RICHARD SMITH
REBECCA QUIRK > PERRY ROBERTS > FIONA HAINES
SIMON LIDDIMENT > KJERSTI CROSSLY > EDWARD CLARK
JEANNE SUSPLUGAS > ROBERT PHILLIPS > SOPHIE DICKENS
UNA d ARAGONA > STUART SEMPLE > JULIE YOUNG
PAUL GILDEA > REBECCA MEANLEY > MITRA TABRIZIAN
LUCINDA BURGESS > TOM DURNFORD > SARA MARK
ROGER CLARKE > JOSE CARLOS TEXEIRA > URBAN XXX
MOMOKO FUKUHARA > DRAGAN ALEKSIC
RACHEL MEGAWHAT > BRAD PITTS & DOWNEY JUNIORS
DEMELZA MOREAU > KASH
BIG DEAL No5 Film Reel
curated by Daniel Buckley
With kind support from Q PARK, HI SUSHI Events, Peony, Leongs Legends, Blue Gras, De Beauvoir, UEL & Bath SPA University
I’m excited about my new solo exhibition this September.
A photo-exhibition of mainly collaborative work; exposing other creatives, illustrators and dancers.
Rather than just exhibiting my own work, I have decided to show all of the collaborative work I have been doing lately.
The exhibition will be called ‘Giving Something Back’ and will consist of 3 main projects:
‘Dancers on Rooftops’, ‘The Illustrated’ and ‘Hackney Wick Portraits’
Private View Thursday 5th September 2013, 6:00pm-11:00pm. Free entry
Opening Times 6th-30th September 2013, 9:00am-5:00pm daily. Free entry
Stour Space. 7 Roach Road, E3 2PA London, United Kingdom.
I’ve made a Kickstarter campaign to raise money for the production of the exhibition. You can check it here and watch the video below:
art-magazin.de have just published a new interview on their website as a part of their ‘Akt Now!’ features.
It’s all in German so I’m posting an English version below in case anyone’s interested, gut?:
What excites you about the subject of the nude?
I find it attractive. It turns me on. Actually, would be more precise to say that when it is women, I find it attractive, mostly. With men, I find it fascinating.
I am looking for physical uniqueness. Performance muscles (contemporary circus, dance) are a big interest to me. Years ago when I just started photographing circus, I was talking to my brother who’s a circus performer (acrobat & juggler) himself about how some aerial circus girls have such big shoulders you can mistake them for a man if you look at their backs. My brother explained: “The muscles are not for show-off, these girls want to be able to do a certain move or trick with their body. They need these muscles to be there for it, that’s all”. Through the years I have learned to love what seemed a bit weird to me in the beginning.
How far would you go? Are there any taboos?
I don’t think I would make a good photojournalist. I think I can’t photograph people’s suffering, it feels too private. I can’t do it. At least not directly, perhaps in a paraphrase. But to photograph someone in possibly one of their weakest moments gives me the shivers and almost makes me sick.
I don’t like to show sex too. Sometimes there’s so much going on, you can just show a crop of something – it’s much more effective. It also leaves room for others to interpret.
I’m not really sure how far I would go. It keeps changing. Every year I dig deeper and deeper, it seems like I keep pushing myself but at the same time I like to close down and show less.
Perhaps you could say that the goal sanctifies the means – so all I really need to do if find subjects I can relate to and believe in. As the years go by, I am more and more sick of consumerism and most fashion trends. A lot of cultural habbits seems silly to me as well. I guess if I need to photograph a family naked with all their members; mother, father and children – to protest against Apple’s censorship of nudity on their App Store, I will.
When is a nude picture considered a piece of art?
I think it’s not just about nude. If a picture is good enough to be timeless, it doesn’t matter if it’s nude or not.
This could be a very philosophical discussion about art, nudity and personal taste. Perhaps we can do a whole interview just about that.
Who or what inspires you? Are there any photographers or artists that inspires your work?
Everything inspires me. In specific it will be kindness, intellect, technology, powerful women; both sexually and mentally, doers, thinkers, nature, animals and good food. People who are nice to me inspire me. There’s also money that motivates me more than inspiring. It’s weird – but when I don’t have money I don’t feel like doing anything. When I have money – I am super productive.
The artists I like more nowadays are the ones who do what I do – mixing beauty and vulgar. Creating a contrast, a contradiction.
Maybe I do what they do, I’m defiantly not the first in this category.
Anyway, from the top of my head; Manuel Vason, Sara Sitkin, Lloyd Newson and lately I discovered Daniel Arsham. I like his aesthetics.
It’s mostly people who do stuff that’ll make me go “ooh why didn’t I think of that!”
Was there any mortifying moment while you were photographing?
There was one time when I photographed a female model in a shower and we wrapped her head and face with bondage rope. The water made the rope shrink and at some point she couldn’t breathe. There was a tiny moment of panic because we had to untie all the rope, FAST. It was ok at the end. I know, it’s not that bad. This is the most mortifying moment or close to it. Although some of the pictures I take may look dangerous, we take as much precaution before.
I wouldn’t want anyone to get hurt while I’m taking a photo. Unless they’re into it.
How important is staging and coincidence for your pictures?
The staging is just a way to make it my own. I create a situation and let reality happen, or at least I try.
It’s like jazz, you know you have 8 bars to improvise. Within these 8 bars you can play whatever you want – but they are 8 bars in a song. Someone wrote that song. My bars are my frames. I tell the subject “This is your frame, you have from here to here, now play.”
What projects or dreams would you like to fulfil in your artistic practice?
I have a plan to spend 1 year in the USA in 2014 and work on some of my existing projects as well as new ones I haven’t started.
This will actually be a sabbatical so I could take things more easily.
“Naked Girls with Masks” and “Dancers on Rooftops” are obvious projects I can work on there. I also want to photograph some of my personal heroes. People like Paul Simon, Tom Waits, Noam Chomsky, Bob Dylan and so on. People who realistically I don’t have many years left to photograph, or meet. I really want to meet them.
Next exhibition: Solo exhibition – 6 Sept – 1 Oct. Location: Stour Space, London (www.stourspace.co.uk) / Title: TBC
This film was shot over a period of 3 days using a Canon 5D Mark II during the 19th Israeli Juggling Convention.
Gan HaShlosha, Israel. April 2012.
It was directed and shot by yours truly and remarkably edited by Ori Roth who’s a top juggler himself (helps with the editing as well).
Marianna De Sanctis
Music by Moog Cookbook:
25 Or 6 To 4
Since mid-2007 I’ve been using my camera to capture a lot of things. Mostly people. Mostly people who to me, are nothing less than pure amazing. Mostly people who never got a payment for their part of posing for my camera.
Some of these photos were published in magazines or books. Some appeared in exhibitions around the world.
Some of them brought in some money that allowed me to pay whoever it was that I photographed.
A lot of these pictures, however, never seen the light of day – or more precisely – still await to be selected and edited on my hard drive.
The fact that most of these people never got a payment, leaves me obliged to basically give them the photos ASAP. They did their part, I need to do mine.
With digital photography comes the tiring editing part. I learned that the way I shoot, is a very impulsive-improvised sort of process; I don’t plan shoots to small details. I say “I want to shoot you, wearing this, standing in this room” and I will shoot 600 pictures moving around, moving the person around, changing the light, changing the lens …eventually without even remembering some of the photos I took, I will select the ones I like on my editing software. During the shoot, I try to let the pictures take themselves. I end up in weird positions, weird compositions – but I try to let it go and flow. The composition is created in 2 parts. It’s not really the photoshoot. It’s the photoshoot + editing or shall I say the selection.
From the (at least) hundreds of thousands of photos I took, I’ve never taken a single photo just to keep it for myself. Everything I do is aimed at being published, exhibited, put in a book one day and so on.
BUT I have realized long time ago that I have a problem with my work flow. That problem is simply the fact that I can shoot faster than I edit.
Being a freelance photographer who is not making his living by selling fine art prints (just yet) – I have to do a lot of other jobs. Some are super interesting and the photos I produce end up in my portfolio, publications and exhibitions. Some are done purely for the money and will never appear on any of my sites and none of you will ever know I’ve taken them.
This puts me in a situation where I HAVE to prioritize my work flow to deal with the paid work first and all personal work is being put aside, postponed until I’m free with the energy to sift through it all.
When I’m doing about 2 paid jobs and 2-3 personal shoots a week, each job / shoot containing 200-1500 images, about 1-2 hours to go through each shoot, mark all ‘worthwhile’ images and delete all the crappy ones, another 2-3 hours to narrow the images to the best 5-20 images and then edit them … I end up getting A LOT of personal work left behind.
I have shoots I’ve done in 2007 (this is 2013 now) I haven’t even looked at yet.
The people I photograph often ask me what’s going on with the pictures. I get some people ending up sort of hating me, they stop talking to me. I get it. I wish things would be different. I wish I could edit everything faster.
Perhaps in the future my career as a fine art photographer will flourish and I will be able to just concentrate on these shoots instead of having other obligations (various commissions) I need to handle first.
I should emphasize again that ALL the pictures I take, as a part of my personal work especially, are pictures I take because I am passionate about them in one way or another. I intend to publish them in whatever platform I can. Even if it was 5 or 6 years ago, I plan to publish them at some point.
I don’t even know why I take pictures. It just feels right. I’m very intuitive, I don’t ask questions – when my gut feeling tells me “YOU MUST PHOTOGRAPH THIS PERSON” – I obey.
It’s an obsession. A disease. It’s my fetish and I’m addicted to it. But I don’t ask questions. I do it. I find a way to get that person’s trust and pose for my camera. I just know it’s right. The picture has to be made, and one day, it will justify its existence, somehow.
I guess I’m not the only photographer with this problem, but I’ve been meaning to write this post for a long time.
This post is written for anyone I’ve photographed before and yet to see the photos; I’d like to say I’m sorry. I REALLY am sorry.
I hope you understand.