DUMB MAGAZINE #5 Tangling empty words

• price : ¥1,500 (w/o tax)
• size : 142 x 192 mm
• pages : 59 pages
• print : laser print
• color : all color
• year : 2014
• edition : first edition / 50 copies

ストリートカルチャー、カウンターカルチャーをバックグラウンドに、アート、写真、グラフィックデザインなどの作品を 独自の観点から編集し、文章による表記をせず、視覚的表現のみによって構成された雑誌DUMB MAGAZINEの新刊。 D.I.Y.のZINEスタイルで作られた初版、限定50部。

Contributors | 参加アーティスト

Akira Takata | 田方 彰

Aljosa Daumerie aka SENZ

Austin Mcmanus

Deanne Cheuk

Diskah

John Divola

Joji Shimamoto | 嶋本丈士

KentoMori | 森 健人

KotaSake | 酒 航太

Krikor

MasayukiShioda | 塩田 正幸

Micah Lidberg

Mitsuko Akutsu | 阿久津 光子

Tadanobu Asano | 浅野 忠信

Taro Hirano | 平野太呂

Thomas Kartsolis

Pai

RDK| 緑道會 (ESOW MIM SKEM)

Shohei Ito

Yoshinori Honda

Yusuke Kihara | 木原 悠介

More info is here

Thank you so much everyone! The party was awesome!!

here is more photo please check.

photo by erico oomori

Wolfgang Tillmans installation views from The Common Guild, Glasgow here.

Patrick Tsai "Modern Times"

Shibuya Parco Part 1, B1F, Logos Gallery, Tokyo, Japan
Date: 4/06/12 - 4/18/12

http://www.parco-art.com/web/logos/exhibition.php?id=475

Thank you for good time!

combine-tokyo.tumblr.com

Contemporary Fine Arts is pleased to announce the second solo exhibition showing works by Dash Snow (1981-2009). Mary Blair Hansen of the Dash Snow Archive curated the show that is comprised of two elements: a film and a selection of original Polaroids.

Snow archived roughly 8,000 of his Polaroids but showed small groupings of the originals only three times during his life (most people are familiar with them by way of 147 scanned and enlarged C-print editions). Proving to be his entrée to the art world, it was fabled that Snow used the Polaroids to document experiences he might not otherwise remember due to intoxication. This sensationalism justly grabs hold of Snow’s most lurid subject matter as well as his nostalgic bent. It also fails to acknowledge the strange and reflexive intimacy Snow imparted by both presiding over and participating in the photographs.

The groupings on view here (totalling over 400 original Polaroids) show the breadth of experience the artist compulsively chose to document. From the banal to the extreme, from the melancholy to the ecstatic, each photograph would seem to buttress a facet of the artist’s uncommon experience. That he began shooting these pictures roughly at the time of 9-11 (when Snow was 20 years old) is not immaterial. Images of Snow and his friends writing graffiti, flashing guns, making out and making art all give us a larger picture of the wiliness and abandon that would propel his circle after the attacks.

Also apparent in these pictures is Snow’s capacity to take custody of his surroundings, slinking himself into impossible moments with his camera at the ready. Sometimes these are moments of calamity and repulsiveness that would seem far too fleeting to capture: a fall, a vomit, a primordial stare. In other examples, he was audaciously present during his own or others’ sexual encounters. This sense of exceptional intrusion is also evident in his portraits of “sleepers.” Here, Snow’s own consciousness is locked to the unconsciousness of his subjects – be they vagrants on the streets or his most beloved friends and lovers. The patchwork of conditions in the sleepers (peaceful, passed-out, defaced, dismal, beautiful) reflects back toward the artist himself, their wakeful beholder.

Snow quickly expanded from the Polaroids that marked his artistic beginning to collage, sculpture, installation, and finally Super8 film, such as Familae Erase (2008), on view here. Made the year before he died, the piece may at first appear as a rough and uncomfortably raw exposure of the artist’s publicized difficulties: his drug addiction and complicated relationship with his prominent extended family. However, moving deeper into the composition of the film, one can discern a master coda to the entirety of Snow’s artistic output. The piece was edited entirely "in-camera," meaning only with the stops and starts of the recording process itself. This approach perfectly illustrates the ferocious immediacy he maintained across all of his chosen media. In Familae Erase, more explicitly than anywhere else in Snow's oeuvre, we see him performing his often stunning and poetic process: the homemade effects with blood, glitter and light; the collage materials, books and pornography swirling around him and beginning to juxtapose; the ritual and cumulative actions of making the sculptures from whatever ruinous materials are on hand. We see him enact a kind of Gothic irrationality and melodrama - all of which could seem to unfold within an interior space as easily as an exterior one.

It is this disregard for the absolute regimes of the hidden and the overt that distinguishes Snow's work. As much as it may offer a portrait, Familae Erase gives us also the defiance of a portrait. In certain moments, Snow seems to put himself vulnerably on display, a prop in his own artwork. In others, we peer over his shoulder into the crucible of his artistic process. In still others, our viewpoint is confounded by darkness and obscurity, forced into abstraction. Similarly, the Polaroids constantly shift the direction of the action; in some images our gaze is trained squarely on Snow as he presents himself intentionally. Elsewhere, our eyes are met “as Snow’s” in the responsive faces of his subjects, smiling at him and therefore back at us – perhaps encouraging us toward a false sense of truth. Just as they would define his era on the Bowery, the unruly synergies of horror and inspiration and of the inner and outer lives are at the core of Snow’s project.

Photography by Roger Ballen for The New York Times
Via http://www.nytimes.com/2012/01/29/magazine/die-antwoord.html?_r=2


Directed by Roger Ballen & NINJA
Director of Photography Melle Van Essen
Edited by Jannie Hondekom @ Left
Post Production by Blade

Here is an interview of Roger Ballen. He talks about his series Boarding House.
http://www.americansuburbx.com/2010/11/asx-tv-roger-ballen-boarding-house-2010.html
That series has represented on Dumb Magazine #4.

Let's go WORKSHOP WITH ROGER BALLEN in MOROCCO, MAY 2012!
http://1000wordsphotographymagazine.blogspot.com/2011/12/1000-words-workshop-with-roger-ballen.html

STEVENSON is pleased to present a solo exhibition by Viviane Sassen, her second at the gallery following Moshi in 2010. The show brings together photographs from her recent Parasomnia series and some from her previous series, Flamboya.

Sassen spent her childhood years in East Africa. She describes that, on her family's return to the Netherlands, she felt like a foreigner in her homeland but knew that she had also been an outsider in Africa.Parasomnia animates these feelings of dislocation between home and away, night and day, life and dreams. The series comprises photographs taken in West and East Africa over the past two years, as well as a few taken in Europe, which frame her enigmatic and often haunting narratives.

As a New York Times critic recently noted (in a review of the Museum of Modern Art's New Photography exhibition), Sassen's images 'convey how strangely vivid and tantalizingly sad the world can seem to a mind and eye divested of the usual filters of perception'. Her photographs constantly disrupt our usual perceptions because some are carefully constructed while others are incidental scenes she encounters on her travels, leaving us unsure which are her imaginary fictions and which scenes from life. Her distinct visual language is articulated by a deep awareness of the formalist concerns of painting, sculpture and photography, as well as an acute sense of colour and the optical resonances of pattern and design.

The exhibition is accompanied by her latest book, titled Parasomnia(published by Prestel, 2011, and featuring a short story by Moses Isegawa). This book follows Flamboya (first published by Contrasto in 2008) which has been widely acclaimed.

Sassen was born in 1972 in Amsterdam, where she now lives. She first studied fashion design, followed by photography at the Utrecht School of the Arts (HKU) and Ateliers Arnhem. Her work was first published in avant-garde fashion magazines and is regularly commissioned by prominent designers. She was awarded the Dutch art prize, the Prix de Rome, in 2007, and in 2011 won the International Center of Photography in New York's Infinity Award for Applied/Fashion/Advertising Photography. She is one of six artists selected for the 2011 New Photography exhibition at the Museum of Modern Art in New York. Solo exhibitions have taken place at FORMA in Milan (2009) and FOAM in Amsterdam (2008), among other venues. Recent group shows include No Fashion, Please! Photography between gender and lifestyle at the Vienna Kunsthalle (2011); Figure and Ground: Dynamic Landscape at the Museum of Contemporary Canadian Art in Toronto as part of the Contact Photography Festival (2011); and the 2010 Brighton Photo Biennale, curated by Martin Parr.


Mauritanie
2011
Archival ink on cotton rag paper
116 x 96cm

The Sun and Her Shadow
2011
C-print
80 x 65cm

Globus
2010
C-Print
80 x 100cm

Skyline
2010
C-Print
100 x 80cm

Phoenix
2008
C-Print
100 x 125cm

Solomon's Knot
2010
C-Print
80 x 65cm

Testament
2011
C-Print
80 x 60cm


VIVIANE SASSEN exhibition PARASOMNIA

at the STEVENSON, Cape Town

19 January - 25 February 2012

www.stevenson.info/exhibitions/sassen/index2012.html