Horror Artist – Horror Fanatics http://horror-fanatics.com/ Thu, 24 Nov 2022 02:08:28 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://horror-fanatics.com/wp-content/uploads/2021/07/horror-fanatics-icon-150x150.jpg Horror Artist – Horror Fanatics http://horror-fanatics.com/ 32 32 The Best Songs From Paulo Londra’s “Back to the Game” – Billboard https://horror-fanatics.com/the-best-songs-from-paulo-londras-back-to-the-game-billboard/ Thu, 24 Nov 2022 00:36:24 +0000 https://horror-fanatics.com/the-best-songs-from-paulo-londras-back-to-the-game-billboard/ After releasing a handful of singles throughout the year, Paulo Londra has officially released his highly anticipated album aptly titled Back to game. The 16-track set marks the Argentine rapper, singer and songwriter’s first album in three years, following his debut album home run (2019), which debuted and peaked at No. 12 on Top Latin […]]]>

After releasing a handful of singles throughout the year, Paulo Londra has officially released his highly anticipated album aptly titled Back to game.

The 16-track set marks the Argentine rapper, singer and songwriter’s first album in three years, following his debut album home run (2019), which debuted and peaked at No. 12 on Top Latin Albums.

In their debut album, Londra leaned more heavily into their core urban sound using elements of trap, freestyle, dembow, hip-hop and reggaeton. This time around, while the 24-year-old artist stays true to his essence with cheeky reggaeton (“A Veces,” a collaboration with Feid), he also dabbles in punk rock (“Nublado” with Travis Barker) and R&B (“Noche de Novela” with Ed Sheeran).

“I’m back,” he wrote on social media. “It’s from Paulo to those who have always been there, since when I was going to Joaco’s place to meet Ed Sheeran for the second time. As long as you follow his passion, no one can stop you. If you you have ever felt empty but today you want people around you to smile or have fun, welcome to the club.

Earlier this year, Londra officially announced her comeback after forging a new partnership with Warner Music Latin, which marked a new milestone for her career. In November 2021, Londra settled a two-year legal battle with Cristian Salazar and producer Daniel Oviedo (Ovy on the Drums), with whom he co-founded Big Ligas in 2018. After filing dueling lawsuits in 2020, Big Ligas and Paulo Londra out of court resolved their differences in a Miami courtroom.

He marked his big comeback to music by releasing one of his punk-rock anthems “Plan A” in March, his first single in three years, with which he previewed the new album and showcased a fresh new sound for the album. ‘artist. Since then he has released other singles such as “Chance”, “Julieta”, “Party En El Barrio” and “Luces”.

The eclectic, star-studded ensemble also includes collaborations with artists such as Timbaland, Duki and LIT Killah. Below, Billboard the editors recommend six essential tracks on the new set.

Inside Antwaun Sargent’s Rise of the Hyperspeed Art World https://horror-fanatics.com/inside-antwaun-sargents-rise-of-the-hyperspeed-art-world/ Mon, 21 Nov 2022 14:02:09 +0000 https://horror-fanatics.com/inside-antwaun-sargents-rise-of-the-hyperspeed-art-world/ Lumpkin and her husband, Boccuzzi, had built up a collection of black artists, including Henry Taylor, Rashid Johnson and Jordan Casteel. When Concordia College asked Lumpkin and Boccuzzi to curate an exhibition of works from the collection, they asked Sargent to curate the exhibition with their collection manager, Matt Wycoff. Around the same time, Sargent […]]]>

Lumpkin and her husband, Boccuzzi, had built up a collection of black artists, including Henry Taylor, Rashid Johnson and Jordan Casteel. When Concordia College asked Lumpkin and Boccuzzi to curate an exhibition of works from the collection, they asked Sargent to curate the exhibition with their collection manager, Matt Wycoff. Around the same time, Sargent helped create a book documenting the collection.

The market for black contemporary artists had built and the show was perfectly timed. In May 2018, Sean Combs bought out Kerry James Marshall’s Past times for $21.1 million, smashing the record price for a living black artist. The excitement spilled over to the primary market. New works by Mark Bradford, the black abstract painter who represented the United States at the Venice Biennale in 2017, sold for up to $5 million.

By the time the Lumpkin Show began touring the country under Sargent’s stewardship in February 2020, the critical establishment was beginning to cover black performers more regularly, but often in ways that unsettled Sargent. Praise, as he saw it, now seemed too effusive. Or, as Sargent put it, “It’s all those white critics who lie because they don’t want to be racist about the quality of black art.

“All are the shows great? » holding the everything for what felt like a minute. “All of them. All of them? I’m sorry… you called this shit horrible seven years ago, because I read your review. Now you praise it? »

a bit inevitably, galleries have realized the value of having someone like Sargent on staff to not only write about black artists, but also bring them into the gallery fold. A few had already approached him when he landed on the radar of Andrew Fabricator, who joined Gagosian in 2018 as COO, seen by many as the successor to the 77-year-old Merchant King.

“The first time I met Antwaun, I could just see star power,” Maker says. “I mean, the guy is tireless. He has enormous charm, he has incredible chops. He has his relationships with the artists, he has his relationships with the fashion world… Not just with the creative side – there’s the art managers, there’s the whole logistical aspect of what we do. It’s unique in my experience at Gagosian, which in the past hasn’t been the warmest or fuzziest place to work.

Eventually, he was introduced to the gallery’s founder, who got his start selling posters on the street in Westwood Village in the mid-1970s and now has billion-dollar sales a year. They agreed to a partnership where Sargent would curate a group show, and the names on the list were mostly artists the gallery kingpin had never heard of.

“The art world kind of realized that it’s been really out of balance for a long time, and African American artists, black, what have you, kind of been kept out of the way. game,” Gagosian told me in October. “And so my gallery, like many galleries, thought about diversity. But what I realized is that these are incredibly innovative and fresh artists. Antwaun didn’t bring me any artists to watch I said, ‘Oh damn it. Why do you think it’s interesting? It’s uh. I can’t.’ It’s usually just the opposite.

For his debut at Gagosian, Sargent proposed something far more ambitious than his programming thus far: “Social Works,” a group exhibition of black artists involved in performance and installation-based practices that involve some aspects of community organization. Adjaye made a freestanding sculpture of 60 tons (his first). Linda Goode Bryant has set up a fully operational urban farm, with the produce bagged and pinned to the walls. The doors of the theater A song for Frankie (2017-2021) featured 5,000 records from the archives of legendary Chicago house pioneer Frankie Knuckles, which exploded during the run of the show.

And someone had to sell everything. Curators have historically remained on the institutional side, sometimes doing ad-hoc work for galleries, and the idea of ​​a curator-dealer is a relatively new phenomenon. It came pretty easily for Sargent.

“Most of these artists that he brings in, there’s a built-in clientele and a list of people who want these things—it’s not rocket science,” Maker says. “But he got into it pretty quickly. And he appreciates it not just for the interaction, but for the money. Gagosian sees this as a natural extension for Sargent: “I wouldn’t call him a salesman or an art dealer.”

Sargent won’t reveal his salary or commission, even though the money is great, much better than $150 a pop for a Vice story. Certainly, there are those who roll their eyes at Sargent organizing and earning a commission. But, Sargent said, the impact of having shows that feature and sale Black artists within a commercial gallery are a crucial part of its ambition as a person of color in a position of power supporting artists of color. Not all arts institutions share this goal.

“Doing these shows and letting esteemed curators or black curators come and do shows in your galleries and there’s no work for sale – bro, it’s expensive PR,” he said. “It’s actually disrespectful to everyone involved. We don’t ask for anything special. We just ask for the fucking opportunity to compete, and I think that’s what drove my decision to join the gallery, because they gave me a real opportunity to compete and you can see what I got from it do. And that’s the only thing. It doesn’t have to be like, ‘We’re fixing our daddy daddy….’ Shit all that. We have lived in this country, we know what it is. Give us the opportunity to compete.

On the first On Thursday October, days before the start of the Frieze art fair in London, Gagosian opened his first show with Tyler Mitchell at his Mayfair space on Davies Street. Mitchell, 27, first won wide acclaim for his editorial work for vogue (and vanity lounge), and was scheduled to open in September, right in the middle of London Fashion Week, but the death of Queen Elizabeth had caused the gallery to be delayed. The exhibition was already a risk – an artist’s first exhibition at the gallery, a photography exhibition in a paint-crazed art market, etc. She now had to compete with the madness of an international art fair.

I ran into Mitchell walking through Mayfair on the way to the show, and as we approached I saw a series of diptych photos visible through the window. Unlike most of Gagosian’s other galleries, this one has floor-to-ceiling windows to show the gist of the show to the public, with the lights on until midnight. The work marked a major breakthrough for Mitchell; they draw on his history of celebrity photography but turn his lens to young men and women to present a kind of utopian vision of American blackness.

There’s a desk through an unmarked false wall at the back of the gallery, and I opened it to see Sargent sitting at the desk. He wore a brown Burberry suit – “It’s British, honey” – and a shirt from Grace Wales Bonner, the London-based designer and artist who took part in “Social Works II” in London. Although he was at his friend Madonna’s Marylebone mansion until five o’clock in the morning – “Oh my God, she has Frida Kahlo and Picasso and, what is this guy we represent, who does fat women boobs, oh John Currin…”—he didn’t seem the least bit tired.

“People are to roll through,” he said, securing his hat to his head two minutes into the opening. Enter Amy Sherald, the artist who painted Michelle Obama’s portrait and whose new works are now selling for up to $3.6 million. There was Lynette Yiadom-Boakye, whose paintings have sold for more than $1.95 million at auction, chatting with fellow British artist Anthea Hamilton. From Los Angeles came rising star Lauren Halsey, and also in attendance were Alvaro Barrington, the painter who exhibits with Sadie Coles’ London headquarters, and Viennese-born London art dealer Thaddaeus Ropac. Bonner came, along with fellow Irish fashion designer Simone Rochas, and Edward Enninful, the editor of British vogue. Anna Wintour had a private visit from Mitchell the day before.

Gabrielle Aplin: ‘My John Lewis song became the theme of a horror show’ https://horror-fanatics.com/gabrielle-aplin-my-john-lewis-song-became-the-theme-of-a-horror-show/ Sat, 19 Nov 2022 05:00:00 +0000 https://horror-fanatics.com/gabrielle-aplin-my-john-lewis-song-became-the-theme-of-a-horror-show/ On the same day Gabrielle Aplin speaks to Review, UK retailer John Lewis releases its Christmas ad. While once the record-buying public was excited to see who would have a UK number one this Christmas week, for years attention has been on television adverts increasingly sophistication and the songs that compose them – most often […]]]>

On the same day Gabrielle Aplin speaks to Review, UK retailer John Lewis releases its Christmas ad. While once the record-buying public was excited to see who would have a UK number one this Christmas week, for years attention has been on television adverts increasingly sophistication and the songs that compose them – most often reworked covers of classic pop.

ohn Lewis has led the pack for years and this season’s weepie, which features Postmodern Jukebox’s cover of the song Blink-182 All the small things has already drawn praise and opprobrium in equal measure.

For Aplin, the John Lewis Christmas ad will always hold a place close to his heart. Ten years ago, his pretty, plaintive version of Frankie Goes to Hollywood’s The power of love was used in the department store chain’s 2012 Christmas advertisement. She was really a newcomer, she had just turned 20 and she said she had a hard time understanding what had just happened.

“He hung around the top 10 for a few weeks,” she recalled. “It was at number five or six – I was delighted with that, I would have taken it!” It eventually reached number one in the UK (but not Ireland, oddly enough) and she was thrilled.

At the time, appearing on the John Lewis advert was the best exposure an artist could get, she said, in a video call from her home in Somerset. “And I really liked the commercials and I really enjoyed the cover every year and I thought they were really well done, that way the music and the film can reinforce each other. But you never know. The song could work very well and maybe not well for John Lewis and vice versa, but I didn’t expect it to be so important.

His version also topped the singles chart in Australia, but for a very different reason. “A little after [its UK success] it became the soundtrack to a horror series,” she says. “I like this.”

The song’s success helped elevate Aplin above the multitude of young singer-songwriters seeking stardom in the early 2010s, and his debut album, Light up the darkwas a commercial success, reaching number two on the charts.

Since then, his notoriety has declined a little, but the solidity of his work has remained intact. No one would describe Aplin as a cutting edge artist. But even those who dismiss his music as safe and middle-class — to list two of the barbs critics threw at him — should recognize the power of his voice, which is classically beautiful, rather than showy.

biological process

These voices are at the forefront of his forthcoming fourth album, Phosphorescent, which is by far his largest collection of songs. The album, she says, is the product of confinement. Like many musicians who suddenly had huge amounts of free time, she found inspiration hard to come by. “I baked all the banana bread I could make,” she says. Aplin takes her vegan cooking seriously — several of the videos on her YouTube channel, which has over a million subscribers, talk about her plant-based cooking feats.

“That first lockdown,” she says, “I felt like a lot of my peers — songwriter friends — were using that time to write and be creative. But I didn’t write anything. And there was this weird anxiety. It was like, ‘Oh my God, I have nothing to show for myself.’ I did not try [to write]. If it doesn’t work, I don’t force myself, because I’ll just write something shitty.

But then, without putting pressure on themselves, the germ of ideas began to sprout. “I just started writing songs instead of having a schedule. Nobody told me to do an album. And then Mike Spencer, who produced the album, came up to me and said, ‘ “Let’s make an album” and I said, “Yeah! I have the songs. I wrote them. He comes from a very organic place.”

Video of the day

She seems satisfied with the way the project started. “There was no pressure, because no one knew I was writing songs. I was alone, isolated, making songs. It wasn’t like I was making them for anything in particular and I was writing what I wanted to write at that time.

“The whole album,” she adds, “feels like a time capsule of this [pandemic] time. Everything was written in the same space, here [her Somerset home]and recorded in the same space [Mike Spencer’s studio].”

She mentions “organic” a lot to describe the process of making the album, but it’s also a word that could also be used to describe some of the content. With the lockdowns rekindling her love of the natural world, she found herself constantly drawn to the pastoral beauty of her surroundings.

“I made the album in a year and it was amazing to watch all the seasons unfold. Little things like watching the duck eggs hatch on the farm. It made me feel very grounded in who I was. was.

Swapping the relatively bright lights of Brighton for a county best known for its cheddar cheese and cider turned out to be a good move, but it required adjustment. “For a long time, I didn’t see anyone. It’s really, really remote here. At the start of the confinement, I was like: ‘Where is everyone?’ »

The album, she says, is a “kind of coming back to yourself”. She explains: “I was on tour for my third album when we were sent home and all of a sudden I was like, ‘Who am I, deep down, when things are stripped down?’ I guess a lot of people, no matter what their job, thought the same thing.

“It’s a reflective album. I was very fragile before the pandemic. I remember sitting there at one point in the lockdown wishing I wasn’t such a snowflake because I literally didn’t have enough memories to sustain me through that dark time. So I found myself writing about regrets, about things I did and didn’t do.

Irish inspired

She says the title was carefully chosen. Phosphorescence is the phenomenon of giving off or shining light. “For me, it’s all about light in dark places,” she says. “I was watching the episode of blue planet where they descend into the Mariana Trench [the deepest part of the Pacific Ocean]. It’s so far away, and yet they get to where they thought there was no life, and there was life there – [species] to support each other from this darkness – and it just made me think of when we were [during the pandemic] and on the power of human resilience.

Although she talks about the isolation she felt in 2020 and 2021, she is far from alone. She has had a relationship for several years with Irish musician Alfie Hudson-Taylor – half of the folk-pop group Hudson Taylor. The two frequently collaborate and act as sounding boards for each other. Through Alfie she met several Irish musicians and released a single with the Coronas.

She is a frequent visitor to this country – the couple have just returned from Ireland when they chat with Exam – and although Hudson-Taylor is from Dublin, it was the treaty city that stole his heart. “If I were to live anywhere in Ireland it would be Limerick. I like [street] grid system – did you know that Manhattan based its grid system on Limerick’s?

“And, if you listen to the Blindboy podcast, it has an episode on Colonel Sanders [founder of Kentucky Fried Chicken] – and I’m vegan, so that shows you how much I love it that I tell you – and the only place in the world where you can get Colonel Sanders’ original KFC recipe is in Limerick.

Limerick, one imagines, will be on the touring schedule next year, although the spicy chicken dishes are devoid of it. Currently, a series of UK dates have been listed around Phosphorescentin January, but she says more will be announced soon. “I’ve had these songs for so long that I think they’re free, so they’re not mine anymore.”

‘Glow in the Dark’ is relea January 13

California governor’s wife tearfully testifies in Weinstein rape trial https://horror-fanatics.com/california-governors-wife-tearfully-testifies-in-weinstein-rape-trial/ Tue, 15 Nov 2022 18:29:13 +0000 https://horror-fanatics.com/california-governors-wife-tearfully-testifies-in-weinstein-rape-trial/ LOS ANGELES — Jennifer Siebel Newsom, documentary filmmaker and wife of California Governor Gavin Newsom, nearly cried through tears from the witness box on Monday when she told court that Harvey Weinstein raped her in a bedroom. hotel and spoke of the devastating effect it had on her over the next 17 years. “He knows […]]]>

LOS ANGELES — Jennifer Siebel Newsom, documentary filmmaker and wife of California Governor Gavin Newsom, nearly cried through tears from the witness box on Monday when she told court that Harvey Weinstein raped her in a bedroom. hotel and spoke of the devastating effect it had on her over the next 17 years.

“He knows it’s not normal!” she cried during the Los Angeles trial, recalling her thoughts amid the alleged 2005 rape. “He knows that’s not consent!”

She then shouted “Oh my God!” as though overcome by memory, and gave way to tears. Weinstein watched from the defense table.

Siebel Newsom said she unexpectedly found herself alone with Weinstein in a suite at the Peninsula Hotel in Beverly Hills, where she agreed to join him for a meeting. She said she assumed others would be there and talk about her career.

When he came out of the bathroom in a bathrobe with nothing underneath and started groping her while he masturbated, she described her feelings.

” Horror ! Horror ! she says. “I’m shaking. I’m like a rock, I’m frigid. This is my worst nightmare. I’m just an inflatable doll!”

She then gave a graphic description of a sexual assault and rape by Weinstein in the bedroom of the suite.

A 23-year sentence and a trial with 11 other charges

Weinstein’s attorneys, who were only able to cross-examine her briefly and will prosecute on Tuesday, said the two had consensual sex and that she was seeking to use the powerful producer to advance her career.

Weinstein is already serving a 23-year sentence for a rape conviction in New York and has pleaded not guilty to 11 counts of rape and sexual assault in California involving five women.

Siebel Newsom is the fourth woman Weinstein has been charged with sexual assault to speak out in Los Angeles. His testimony was the most dramatic and moving to date in the three-week trial. She cried throughout her 2.5 hours on the stand, starting when she was asked to identify Weinstein, 70, for the record.

“He’s wearing a suit and a blue tie, and he’s looking at me,” she said as the tears started to flow.

Now 48, Siebel Newsom has described how Weinstein first approached her to perform at the Toronto International Film Festival in 2005. At the time, she was a producer and actress with only a few small roles , and he was at the height of his Hollywood power. .

“It felt like the Red Sea was parting,” she said, watching the others in the room make way for him. “I don’t know if it was deference or fear.”

But she said when they had a drink later that day he was ‘lovely’ and showed ‘genuine interest in talking about my work’.

He was in the Los Angeles area a few weeks later, stopping by her house at a small party to drop off a gift and inviting her to the hotel meeting.

“I didn’t know how to escape”

She described how nervous she was after being directed to her hotel suite. Asked by Assistant District Attorney Marlene Martinez why she didn’t walk away, she replied, “Because you’re not saying no to Harvey Weinstein.”

“He could make or ruin your career,” she said.

Afterwards, she said she felt “so ashamed”.

“I was so raped and I don’t know how it happened,” she sobbed. “I didn’t see the clues and I didn’t know how to escape.”

Siebel Newsom is known as Jane Doe #4 during the trial, and since the other Weinsteins are charged with rape or sexual assault, her name is not mentioned in court. But the prosecution and defense identified her as the governor’s wife at trial, and Siebel Newsom’s attorney confirmed to The Associated Press and other media that she was Jane Doe #4.

The AP generally does not name people who say they have been sexually abused unless they have come forward publicly.

Weinstein has had many famous accusers, including high-profile actors, since becoming a magnet for the #MeToo movement in 2017. But none of the women telling their stories at the trial have had the notoriety of Siebel. Newsom – wife of the man who last week sailed for a second term as governor of the nation’s most populous state and could run for the White House. The governor was not in the courtroom on Monday.

During cross-examination, Weinstein’s attorney, Mark Werksman, repeatedly pressed Siebel Newsom to know when she told her husband about the assault, pointing out in a transcript of an interview with prosecutors in 2020 that she said Newsom was “maybe” the first person she spoke to. The attorney was the first to say the name “Gavin Newsom” during testimony, and repeated it often.

She said she “leaved clues along the way” over the years after meeting him when he was mayor of San Francisco. And he got the full account when women’s stories about Weinstein went mainstream in 2017. He would return Weinstein’s former political donations then.

The impact of trauma

Werksman suggested the couple solicited donations from Weinstein at a time when Newsom needed to know his story.

He took money “from someone who you implied did something despicable to you?” Werksman asked.

“It’s complex,” replied Siebel Newsom.

“Well, is it just politics,” Werksman asked, “that you just took money from someone who did something despicable to your wife unless everyone finds out ?”

Siebel Newsom denied Werksman’s suggestion that new elements of the alleged assault that she had not described in interviews with prosecutors or grand jury testimony first surfaced in her testimony on Tuesday.

He said he wanted to know why his story changed.

“We’ve all heard you being very emotional,” he said. “You’ve had plenty of time to think about it over the past 17 years.”

Siebel Newsom said she spent much of that time trying not to think about it.

“It’s very traumatic, sir,” she said.

Copyright 2022 NPR. To learn more, visit https://www.npr.org.
Comic Watch’s Korner Kickstarter November 12, 2022 https://horror-fanatics.com/comic-watchs-korner-kickstarter-november-12-2022/ Sat, 12 Nov 2022 17:00:03 +0000 https://horror-fanatics.com/comic-watchs-korner-kickstarter-november-12-2022/ Welcome to the Comic Watch Korner Kickstarter! This is when we highlight some of the projects we hope you’ll support and help spread the word about these great indie titles and be sure to check out our previous posts to see if any of these campaigns are still running: Holiday Spirits 1 & 2 – […]]]>

Welcome to the Comic Watch Korner Kickstarter!

This is when we highlight some of the projects we hope you’ll support and help spread the word about these great indie titles and be sure to check out our previous posts to see if any of these campaigns are still running:

Holiday Spirits 1 & 2 – HORROR ANTHOLOGY – OGN!

Suspenseful and thrilling Christmas tales brought to you by 20 super-talented independent creators.

Holiday spirits is a comic horror anthology with suspenseful and exciting Christmas tales presented by 20 super talented independent creators. This high-quality 90-page book is a must-have under the tree this year! if you want Tales from the Crypt, Twilight Zone Where Alfred Hitchcock presents, this comic is for you.

The book contains 10 stories that take place in the past, present and future. Each of these stories will be introduced by the 3 ghosts of Christmas made famous by the book THE CHRISTMAS CAROL by Charles Dickens.

What do you get with HOLIDAY SPIRITS?

  • Created by Jerome Gagnon HOLIDAY SPIRITS is a 90-page comic strip in standard American comic book, on high-quality glossy paper.
  • Some of the best INDIE COMICS writers – Travis Gibb (Granite State Punk), David Galliano (savage bastards)Stonia Guillaume (Infamous), Brian Hawkins (black cotton), and more
  • Some of the best artists in INDIE comics – Gilliard Goulart (Voodoo Nations), Etienne Derepentigny (DeadKingdom) Don Nguyen (Pablo the gorilla) and more
  • Funders get various coverage options from Jeik Dion (Behemot), Nate Made It (Bad Idea, Scout Comics) and Bryan Larry Watts (Dynamite, Zenoscope)
  • Plus, loads of extra bonus content in the Deluxe Digital-PDF!
  • At higher contribution levels, contributors will have access to limited-edition campaign-exclusive items.

All-Negro Comics 75th Anniversary Edition

The first anthology of black characters created by black cartoonists is remastered for readers today and beyond!

Three quarters of a century ago, Orrin C. Evans led a team of cartoonists to create the first comic book anthology of original black characters created by black talent, with the express purpose of entertaining while rejecting harmful stereotypes and pushing back the limits of the industry. All-Negro Comics #1 should be one of those revered moments in comic book history, but the original print run was quickly pulled from newsstands and nowadays All-Negro Comics is a factoid that can’t be easily found or read. Help me publish the 75th anniversary edition of All-Negro Comics! This is a passionate project that I have been preparing for years. My entire career has been the prologue of putting together the best presentation of this much-needed cultural exhibition.

Monkey Fighting Robots: Magazine #4

The COMIC CONVENTION edition is here with a combination of curated comics and articles on hard-hitting comics.

“Rolling Stone and MAD Magazine’s drunken love child” is back, and this time we’re focusing on COMIC CONVENTIONS. The magazine is a combination of comics and comics articles from an experienced team of writers and artists. After discussing superheroes, the future of comics, and cartoonists in our previous episodes, in this issue we’ll cover all things “comic book conventions.” Our team has online articles on Steve Ditko, the drunken side of Comic Con, trash dives, comic book conventions, Spider-Man’s birthday (the web-head looks great for 60! ), and more, plus our Best of 2022 and plenty of actual comics from some of our favorite rising star creators.

Sex on wheels

  • Current funding: $5,479
  • Funding goal: $5,000
  • Remaining days: 19
  • Link: Sex on Wheels

Number 1 of a comic about the life, art and sexuality of people with disabilities.

People with disabilities are like everyone else. We have hopes and dreams, fears and insecurities. We want things, we fight for things, and like everyone else, we often lose. We have flaws. We drink, we smoke, we take drugs and we swear. We also have sex. As our protagonist, Mo, tells the reader on the first page, the moral of this whole story is that crips f*** too. So it’s not inspirational porn. It’s the story of a young woman with flaws, who drinks too much, doubts herself and cares too much about what other people think. This is the story of a young woman with real talent, in a field dominated by men and male imagery. It’s the story of a young woman mourning a deep, personal loss and trying not to get lost in grief. And she is disabled.

Vampire Macabre Comics, Vampires & Fearless Dawn Horror

A collection of horror anthology comics from Asylum Press, Frank Forte, Tim Vigil, Steve Mannion and more

Are you a fan of SHOCK/TERROR storytelling from EERIE & CREEPY magazines? HOUSE OF MYSTERY, DC’s HOUSE OF SECRETS, TWILIGHT ZONE, the horrors of TALES FROM THE CRYPT, PRE-CODE HORROR COMICS or the twists of 2000 AD’s Future Shocks? If so, this comic book collection is for you. Five issues with crazy, twisted and bloody pages that will keep your eyes bleeding until the very end.



Joe Jusko’s art from 1992 Marvel Masterpieces

A book-form celebration of the immensely popular trading card series that forever changed the non-sports card industry

Thirty years ago, a series of trading cards was launched that would change the non-sports card industry forever. The 1992 Marvel Masterpieces.

Joe Jusko's Art of 1992 Marvel Masterpieces by FPG — Kickstarter

Due to the popularity of this series, it took an unprecedented 350,000 boxes to quench the thirst of card collectors around the world. Nothing like it had been seen before or since.

This series wouldn’t have become the monumental success it did, if artist Joe Jusko hadn’t produced 104 stunning paintings! Joe literally set the standard for all Marvel Masterpieces series that were to follow. Each of the 104 paintings have become iconic depictions of great Marvel characters, and these cards hold such a special place in the hearts of collectors of all ages, many of whom were young, single-digit, or teenage fans at the time of the series. Release.

This is a summary for this week from us, but if you’re using Kickstarter and want to be put in the Korner, email us at micheal@comic-watch.com or chad@comic-watch.com, and we’ll take a look when we put together next week’s post.

Comic Watch’s Korner Kickstarter November 12, 2022

Author: Mike Eakins

I remember stealing my older brother’s copy of a Punisher comic and it was all down hill from there. I went to a Navy recruiter’s office with the promise of a cake. I was lied to and 20 years later here I am. I enjoy summers with my family at our timeshare on Gallifrey.

Cassius Turvey: Artist Brandi Salmon Paints Powerful Portrait of Noongar Yamatji’s Teenager Who Was Supposedly Murdered https://horror-fanatics.com/cassius-turvey-artist-brandi-salmon-paints-powerful-portrait-of-noongar-yamatjis-teenager-who-was-supposedly-murdered/ Wed, 09 Nov 2022 09:11:00 +0000 https://horror-fanatics.com/cassius-turvey-artist-brandi-salmon-paints-powerful-portrait-of-noongar-yamatjis-teenager-who-was-supposedly-murdered/ When Brandi Salmon first heard the news of Cassius Turvey’s alleged murder in Western Australia, her heart sank. The attack has struck home for Tasmania-based Wiradjuri and Tongan artist, who likes to call herself “Tongariginal”. His heartbreaking first thought was that the alleged brutal attack could have happened to someone close to him. The 15-year-old […]]]>

When Brandi Salmon first heard the news of Cassius Turvey’s alleged murder in Western Australia, her heart sank.

The attack has struck home for Tasmania-based Wiradjuri and Tongan artist, who likes to call herself “Tongariginal”. His heartbreaking first thought was that the alleged brutal attack could have happened to someone close to him.

The 15-year-old boy from Noongar Yamatji was allegedly hit with a metal pole as he walked home from school in Middle Swan with friends on October 13.

Cassius’ family believe he and his friends were mistakenly targeted in an act of vigilance over a damaged car and claim the teens were racially abused in the moments before.

The horror attack left Cassius with severe head injuries which resulted in convulsions, two strokes and his ultimate death 10 days later on October 23.

“As a proud Wiradjuri woman, it was extremely difficult for me to understand that an indigenous child could be [allegedly] murdered, in broad daylight, walking home from school,” Salmon told PerthNow.

As an artist, she decided to pour out her feelings in a portrait of Cassius, which has since been shared hundreds of times on social media as people demand justice for the teenager, with many calling the attack ” racial motivation”.

“I decided to paint Cassius because I was deeply marked by his [alleged] murder,” she said.

“Cassius looked like my nephew, they’re the same age, and that really touched me; it could have happened to my nephew.

Camera iconAfter hearing the tragic news of Cassius Turvey, Indigenous artist Brandi Salmon decided to put her feelings into a portrait of allegedly murdered teenager Noongar Yamatji. Credit: Provided/Brandi Salmon

Salmon – well known for her striking portraits of Indigenous women in The Aunty Collection – said she also painted Cassius because she wanted people to see him for “the innocent child with hopes and dreams” that he painted. he was and “not a faceless statistic.”

“I wanted to raise awareness about the racism that Indigenous people face in this country,” she said.

“I wanted to celebrate the life of Cassius Turvey.”

Painting makes Mechelle Turvey smile

Although Salmon does not know the Turvey family personally, she painted the portrait and shared it on social media with their permission.

“I heard from one of Cassius’ family members that his mother, Mechelle, ‘loves’ painting, and it made her smile,” she said, adding that hearing that ” was unbelievable”.

Salmon said she would send the painting to Mechelle, and she “hopes it can help her heal in some way.”

The painting was shared on Salmon’s Instagram page on October 30 with the caption: “His name was Cassius Turvey, he was 15, his favorite color was blue and he ran a lawn mowing business with his friends.

“Fly high into the Dreamtime, Cassius.”

The striking portrait was created using mixed media on stretched linen canvas.

“I laid down a base of acrylic paints and painted Cassius with oil paints,” Salmon explained.

Since sharing her painting, Salmon, who grew up in Victoria and graduated with a Bachelor of Creative Arts from Deakin University in 2020, said she was “incredibly moved” by the response.

Initially a self-taught painter, her subject matter and style also draws from previous work as a domestic violence support worker Koori, helping Indigenous women navigate the legal system.

“I was inspired by their stories and their strength,” she said.

Album Review: “The Loneliest Moment” https://horror-fanatics.com/album-review-the-loneliest-moment/ Sun, 06 Nov 2022 21:18:25 +0000 https://horror-fanatics.com/album-review-the-loneliest-moment/ Carly Rae Jepsen goes beyond her bubblegum-pop roots on “The Loneliest Time,” but inconsistent sound hampers the album as a whole. It’s been 10 years since Carly Rae Jepsen’s second hit album ‘Kiss’ propelled the Canadian artist into the consciousness of all Gen Z and Gen Z pop fans. She had already had a hit […]]]>

Carly Rae Jepsen goes beyond her bubblegum-pop roots on “The Loneliest Time,” but inconsistent sound hampers the album as a whole.

It’s been 10 years since Carly Rae Jepsen’s second hit album ‘Kiss’ propelled the Canadian artist into the consciousness of all Gen Z and Gen Z pop fans. She had already had a hit moderate in his musical career before “Kiss”, ranking third on “Canadian Idol” in 2007, but it was her single “Call Me Maybe” that made her a pop phenomenon. In the decade since Jepsen’s big break, she’s had a fair number of chart-toppers (including one lip-synched by Tom Hanks), but for those who haven’t followed her career, it may be surprising that she has just released her sixth studio album. That’s right – Jepsen has kept herself busy over the years, churning out a steady output of bubblegum and dance-pop tracks. His latest project, “The Loneliest Time,” offers everything a CRJ fan could want: whimsical musings on relationships, danceable beats, and a dreamy, candy-coated aesthetic that makes some songs feel like they’re pulled. straight from a sunny summer. love love movie.

Of course, it’s not quite the same from Jepsen. The new album shows the princess of pop pushing her sonic boundaries and delivering more than a few surprises along the way. One of the most important is the title track, “The Loneliest Time”, featuring fellow Canadian artist Rufus Wainwright. Despite what its name suggests, it’s not a gloomy, sprawling song. Rather, it’s an upbeat, disco-inspired track about wanting to rekindle an unfinished romance after having had “the loneliest time” post-breakup. Jepsen and Wainwright’s vocals are an unexpected combination, but the duo is surprisingly seamless. The instrumental flourish between their harmonies gives the song an infectious energy in the style of the 70s disco classics you hear at the rink. It’s easily the best track on the album – and certainly the funniest.

Disco influence is woven into a few other tracks, but bubblegum, dance and synth-pop reign supreme. Jepsen draws on influences from decades to make the album’s 13 tracks stand out from his earlier work. The album’s opener “Surrender My Heart” channels the 80s, even featuring a very “In The Air Tonight” drum moment before jumping into its catchy chorus. The synth-infused songs “So Nice” and “Joshua Tree” sound similar. “Sideways” and “Far Away” take on a bit more R&B flavor, with the older track showcasing that scintillating sound that 2000s artists of that genre loved to abuse. The single “Western Wind” is reminiscent of Jepsen’s folk-inspired debut album, while the cheeky track “Go Find Yourself or Whatever” could pass for an acoustic cafe track. Despite the variety of influences, however, many tracks fail to go from interesting to remarkable. Jepsen deserves props for trying out different sounds, but his reluctance to go beyond a surface-level homage leaves the decade bubbling feeling immemorial.

On the album’s strongest tracks, the pop veteran reminds us of the power of her lyricism to creatively convey familiar feelings (like the ever-iconic verse of “Call Me Maybe” recounting a new crush “Before you don’t come into my life / I missed you too badly”). The comedy track “Beach House” recounts the dates gone wrong, with Jepsen thinking, “I’ve been on this ride / This roller coaster is a carousel / And I’m getting nowhere.” Male singers chime in with lines reminiscent of the typical Tinder horror story: “I got a house by the lake in Canada / And I’ll probably harvest your organs,” they sing nonchalantly. In “Talking To Yourself,” inspired by the breakup, Jepsen asks, “Do you talk to me when you talk to yourself? echoing the relatable paradox of wanting someone you’re done with to think of you. Jepsen also has a few hiccups, from the distracting use of the word “skipper” in “Bad Thing Twice” to the cliched metaphors that fill the sappy song “So Nice.” Thankfully, the lyrical fumbles outnumber the quoted lines and sassy jokes that show Jepsen hasn’t lost touch.

It is understandable that a sixth album contains experiments. How else could Jepsen keep things fresh or display her growth as an artist? Longtime and returning listeners will surely appreciate its new multi-genre era for its novelty. Jepsen knows how to create solid pop tracks, even if they don’t quite reach the viral and chart-topping status of his previous work. Despite its low-key debut (the same day as Taylor Swift’s “Midnights,” unfortunately), “The Loneliest Time” proves that Jepsen is still an artist to pay attention to, especially if you’re a fan of 10s pop. those who haven’t been up to date with Jepsen after “Kiss”, this album might make you realize what your playlist has been missing all these years.

To note:B-
Release date: October 21, 2022

Image courtesy of Entertainment Weekly

Hằng Trịnh On MUOI: THE RETURN OF THE CURSE https://horror-fanatics.com/hang-trinh-on-muoi-the-return-of-the-curse/ Thu, 03 Nov 2022 20:00:00 +0000 https://horror-fanatics.com/hang-trinh-on-muoi-the-return-of-the-curse/ Watch out, Maverick: you’re not the only character in 2022 to return to theaters after a long wait. After 15 years, we have a second act for Mười, best known to Vietnamese moviegoers as the áo dài-wearing ghost whose curse lies in her portrayal. Of course, Hằng Trịnh, the director and producer of Mười: Lời […]]]>

Watch out, Maverick: you’re not the only character in 2022 to return to theaters after a long wait. After 15 years, we have a second act for Mười, best known to Vietnamese moviegoers as the áo dài-wearing ghost whose curse lies in her portrayal.

Of course, Hằng Trịnh, the director and producer of Mười: Lời Nguyền Trở Lại (Muoi: the curse returns), knows the great importance here. In 2007, the first film, Mười (Muoi: The legend of a portrait)apparently the country’s first horror film after 1975 – and also one of the driving forces for the censors to create a rating system from scratch (all Gremlins and Indiana Jones 2-like) was the film event.

When FANGORIA first met Hằng, the sequel was fast approaching. She has stepped up her efforts to create buzz for the film, which is also her feature debut for her own production company Silver Moonlight, with the additional ten meters of anecdotes, making-of and shorts. One of them is a rather endearing “trailer reaction” video featuring the director of the first film, Kim Tae-kyeong.

“That scary nail part is really effective,” he said, according to Vietnamese captions.

Another is structured like an interview with the Vietnamese characters from the first Mười; their words a reminder of what the curse was. In the past, Mười (Anh Thư), the beautiful tenth daughter (“mười” means “ten”) of a country family, got captured by Nguyên (Bình Minh), a dashing painter. When Nguyên’s wealthy wife, Hồng (Hồng Ánh), discovered it, she largely disfigured her. Mười then hanged herself to end the pain, becoming a supernatural force locked behind her lover’s portrait. No one should watch it, as the legend says, or it will use your body to kill, primarily those you believe have broken you emotionally.

“When we decided to make the movie, the first thing we thought about was getting the trio back,” Hằng said. “Otherwise it would be useless.”

painting his return


Whereas Mười was possibly filmed in Vietnam and had characters wearing áo dài and speaking the language (imperfectly), many consider its texture to be more Korean than Vietnamese. So there is merit in considering the co-production as “K-horror” rather than “V-horror”.

History was about to repeat itself when Hằng received the completed scenario of a new Mười Korea project. She turned it down, citing narrative holes and, again, the inferior presence of Vietnamese elements. The mission to alter them became possible when she, her creative team, and Korean production partners decided to move away from the “deadly cursed object” genre trope by putting more light on the human imprint behind said object. It would be a 180 from Zizak’s script for the old Muoiin other words.

“Hồng is of course vicious for exerting his jealousy like this, but have we really understood the thought processes behind it?” she added. “Is Mười right or wrong? What does Nguyên look like? These are the threads that make me think – more than the deaths and fears the portrait can bring. Part of that may also have to do with the fact that I’m a woman. I’m leaning more internally than externally.”


Although Hằng does not script – Oscar Duong and Phil Wyatt are the credited writers – his aforementioned point of view is still detectable throughout the plot of Muoi: the curse returns. After the death of a mutual friend, curator Linh (Chi Pu) and artist Hằng (Rima Thanh Vy) attempt to reconnect. The latter then invited the former to her last concert, staying with the famous painter Lê Chánh (Khôi Trần) and making professional replicas, at the request of the current owner, Miss Diệu (Đinh Y Nhung). This is also how Linh discovers that one of the works of the house is, surprise, the portrait of Mười. Stranger things ensue between the women, and past and present are more intertwined than one might imagine.

Being a sequel, there are callbacks to the 2007 film (nightmares, stabbing, sizzling acid, etc.). Comparisons are essential in the following, especially on the fear factor. Hằng said she was aware that even though 15 years have passed, the sets for the first Muoi, backed by the essence of K-horror, can still beat those in the sequel. That’s not to say she won’t try to reverse the script, but, for her, Muoi: the curse returns has another element more worthy of attention.


“The logic behind the curse,” Hằng said. “Even now, when we ask viewers and press people, a number of them remain unsure of its context, how it is spreading. We will aim not to ‘spoon feed’, but will allow people to start connecting the dots and figuring out what’s what for themselves.”

Among the elaborations? Mười’s curse is not Kayako’s; he chooses whom to contact. Also, the more negative energy a person has, the more likely they are to reach it.

Find his place


Another elaboration consists in letting Muoi: the curse returns unfold in one place, the French villa of Lê Chánh. The smaller scale might just be a result of the film’s mid-budget design, but it also offers the ability to sustain the impact of the curse. For some Vietnamese viewers, the first Muoi I traveled so much across the country to find where the characters might be (Saigon? Đà Lạt? Hội An?), and spotting the inconsistencies removed a lot of suspense.

The villa seen in the film, Hằng revealed, was not even the production’s second choice. Located on the way to the Donaruco field, a rubber supplier in Đồng Nai is abandoned, without a roof and with heavy fire damage. She remembers feeling shivers when she first entered the place.


Artistic director Trần Trung Lĩnh, also credited as the supplier of the paintings, led the task of restoring the place. Not entirely, however; in Hằng, some original traces of the place could add to the atmosphere. “When Linh walks up the stairs, the textures on the walls are as they are,” she said. “Same for those behind Linh when she’s washing the dishes and a girl is walking behind her. I love them!”

She added that almost every corner of the abode, inside and out, is explored in Muoi: the curse returns. Yes, even when the photography of Bob Nguyễn (of Song language Fame) mostly uses a 20mm lens and fixed angles or sets up images ready to own the score by Seth Tsui (formerly of Remote Control Productions). The visual style is inspired by the first two works of Hằng’s cinematic idol, Jordan Peele.

“As for the plot style, I love The sixth sense“, Hằng said. “It is a type of horror that is not so powerful with its scares or showy about anything. It’s very moving and has a great twist. This is also our vision for the film: we will not induce fear in an irrational way, we will do it to move the plot forward towards an ending full of drama and femininity.


(From left to right: actors Tôn Kinh Lâm, Đinh Y Nhung, Rima Thanh Vy, Chi Pu and director Hằng Trịnh)

She, unleashed

As with all Vietnamese films, especially horror ones, Muoi: the curse returns have to deal with the censors first, but Hằng revealed that they didn’t demand any cuts. On a worry scale of one to ten, she was at the time “6 or 7” due to the film’s high number of victims.

“As it was an international co-production, we had to get the script approved before shooting,” she said. “I’m grateful to have gotten the response from the Film Bureau early on. We can make fixes immediately if there are any.”


Hằng also cited Vietnamese horror story passing censors, despite portraying the supernatural as legitimate and in a candid way, as evidence of a more open-minded – or creative-friendly – ​​vetting process these days. Skyline Media, of which Hằng is CEO, handles worldwide sales of Trần Hữu Tấn’s horror anthology, the first in Vietnam.

Along with bringing her feature debut to the local film scene, Hằng would also earn the (still) rare accolade of being a female horror director. Lately, there’s also Đặng Thái Huyền, who in 2017 shifted gears from war dramas to try the genre with Lời Nguyền Gia Tộc (family curse).

But “firsts” and titles were never the focus. “I put people’s feelings about the film first and foremost, that they see it from a female perspective. Or will they compare a female-directed horror to a male-directed one?”

Muoi: the curse returns ended its opening weekend in second place after Korean comedy 6/45according to figures counted by Box Office Vietnam.


As new public reactions, photos and promotional writings pour in, it’s safe to say that Hằng is watching them closely. After Vietnam, the film should see audiences in other territories by December, including the United States. She was still finalizing the details for the latter during this interview. The hope would be to free Muoi: the curse returns in US theaters in November.

“I think there’s an undercurrent of worry in everything I’ve shared with you,” Hằng said. “Because this is a first film, there may be flaws in technique, storytelling or whatever people may note… But I think this image has a life of its own, a quite distinct style and a very feminine core. I hope American viewers, especially women, will take a look and come across a perspective that matches their own.”

With skyrocketing material costs and heating up studios, artists are on the front lines of Europe’s energy crisis and inflationary economy https://horror-fanatics.com/with-skyrocketing-material-costs-and-heating-up-studios-artists-are-on-the-front-lines-of-europes-energy-crisis-and-inflationary-economy/ Tue, 01 Nov 2022 10:00:35 +0000 https://horror-fanatics.com/with-skyrocketing-material-costs-and-heating-up-studios-artists-are-on-the-front-lines-of-europes-energy-crisis-and-inflationary-economy/ As the art world’s elite descended on art fairs in London and Paris this month, another reality loomed for many artists in Europe as they prepare for a tough winter ahead. Soaring energy prices and general inflation are threatening households across the continent, including artists’ studios and material costs. Russia has choked off natural gas […]]]>

As the art world’s elite descended on art fairs in London and Paris this month, another reality loomed for many artists in Europe as they prepare for a tough winter ahead. Soaring energy prices and general inflation are threatening households across the continent, including artists’ studios and material costs. Russia has choked off natural gas supplies on which Europe is heavily dependent. In addition to the ripple effects of locking down physical venues and events during the pandemic, the cultural sector has been hit hard.

Artists are not the only ones who are unhappy: when they threw a can of tomato soup on a Van Gogh painting at the National Gallery in London, young activists reminded the art world that “fuel is unaffordable for millions of cold, starving families”, who “cannot even afford to heat a can of soup”.

The increase in energy bills for the coming season will affect vulnerable people, including artists who are often in precarious financial situations. “This is a disaster foretold to come with delayed effects,” said Zoë Claire Miller, a Berlin-based artist and spokesperson for the city’s artists’ union, BBK.

In Germany, a country particularly dependent on Russian gas, citizens pay their energy bills on the basis of monthly estimates, making up the cost difference at the end of the year. “The time when heads will really roll will be next year,” Miller said. This waiting game left people “scared, but mostly in denial,” Miller noted. “There’s no money we can save, so we’re hoping the federal aid programs will recoup the costs, and I think there’s going to be a lot of political turmoil — there is already now.”

Berlin artist Zoe Claire Miller at the Berlin sculpture workshop of the city’s BBK (association of visual artists).

Government Interim Measures

Indeed, in France last week, as the art world arrived for the inauguration of Paris+ by Art Basel, workers in the energy and transport sectors were on strike, demanding higher wages to counter the rising cost of living. France was quick to cap gas and other energy prices earlier this year, promising to do more next year, while providing subsidies to low-income households. However, the measures have not calmed anger over social inequality or the perception that the wealthy are least affected, and in some cases even benefit from the current crisis.

EU officials met during a Mountain peak last week to reach an agreement on how to manage energy costs. With deep divisions Between nations, finding a consensus has not been an easy task, as evidenced by the decision of German Chancellor Olaf Scholz controversialpledge of financial aid of 200 billion euros ($196 billion).

Claire Miller is skeptical of Scholz’s plan and its effectiveness. With energy costs expected to rise three to six or seven times their usual costs, she said BBK Berlin plans to “fight for special grants for the arts and in general for anyone who loses their home or workspace.

These concerns are not limited to Germany. “My gas bills have gone up nine times in the space of a month which is very scary as we approach the winter period,” said the UK-based artist. Conrad Shawcrosswho makes large geometric metal sculptures, many of which are now visible in a survey at the Oxford Mathematical Institute. Even with government assistance, he has to calculate the environmental and financial costs of every part of his process and now uses electric heating and wears thermals. “It’s very frustrating that renewables are tied to fossil fuels – that relationship needs to be broken,” Shawcross said.

Of course, the situation is not limited to Europe: an artist based in Marrakech Eric Van Hove said he was feeling the impact of the effects of rising energy costs, especially as his work is made of copper, brass and steel, all of which have skyrocketed in price. Fortunately, he bought a large stock at the start of the pandemic in anticipation of a temporary shortage. The artist creates an electric moped with local craftsmen in Morocco, which will be presented at the 1-54 art fair in Marrakech in February 2023. “The cost of energy will have a direct impact on this company, already threatened by the rising cost of lithium,” he said.

Haroon Mirza, 2021. Copyright David Bebber.

In a silver lining, the pandemic forced many artists to adapt to less energy dependent and less expensive methods before the latest crisis. British artist Haroon Mirza had already reduced his costs and energy expenditure by installing his works remotely. “This way of working has been influenced more by the pandemic, but Covid-19 and the climate crisis are inextricably linked,” he said.

Projects aborted or postponed due to the pandemic have LEDs to a “difficult financial situation”, the Belgian artist Lieven De Boeck said, forcing him to rethink his work process. He now works more slowly and prepares small-scale models to save on materials. “The scale research model becomes the artwork,” he said. This is what he did for his performance piece comprising seven wearable textile sculptures which will be presented in Brussels next year.

“The pandemic years gave me enough time to take out loans and do something” about environmental concerns, the Berlin artist says Antje Majewski who has long addressed these issues in his anthropological work. Using state-funded loans, she has installed solar panels in her studio, which heat it and charge her car and computer. Therefore, its production was not affected by the energy crisis. She has also stocked up on painting supplies to last until next year.

Antje Majewski, Tiere und Pflanzen aus Wietstock, 2022 © Antje Majewski / VG Bild-Kunst, Bonn. Courtesy of the artist and neugerriemschneider, Berlin

The cost of living in Majewski’s gas-heated Berlin apartment, however, is another story. She said she had been keeping warm so far and was wearing “a huge woolen cardigan”. Lights are turned off whenever possible and she takes fewer hot baths. Majewski received €300 ($300) from the German state to help with rising costs, and she said she is also getting by thanks to her work as a teacher. His current project, a ‘Garden Pavilion’ in collaboration with The New Patrons and residents of a village in northeast Germany, features solar panels on a large mosaic artwork, the energy from which will heat the community center. from the village.

De Boeck, on the other hand, said he has so far not received any financial help from his region in Belgium. “I just learned that my application for general grants will not be paid due to a lack of money… They continue to cut money for artists and culture in these difficult times.” Although EU-backed government grants for the energy crisis were announced this fall, many details have yet to be determined, including who exactly will benefit.

The regional Minister of Culture of the Wallonia-Brussels State, Bénédicte Linard, announced a An envelope of 20 million euros (20 million dollars) to support the cultural sector earlier this month, with a particular focus on cultural venues – there was little mention of individual artists and their studios. The ministry did not return Artnet’s requests for comment.

The duo Gerard & Kelly are among those artists who claim that the energy crisis has affected their practice. Credit: Cité internationale des arts and Maurine Tric.

This fall, the UK announced a Energy Bill Assistance Program for households and businesses, which reduces energy bills. He comes after the exceptional Culture Recovery Fund aimed at relieving the cultural sector of the effects of the pandemic. “The war in Ukraine and increasing economic pressures are making life stressful for many people in our sector,” said Arts Council England CEO Dr Darren Henley in a public letter shared on October 12. He said the council was monitoring the situation and surveying arts and culture organizations to better understand “cost pressures”.

But time is running out and the recipients of government aid are still being determined in many cases. british artist Polly Morgan says she has no extra support. “This year, I resign myself to keeping [radiators] off,” she said, as she works on her First Plinth commission which will be unveiled at the Royal Society of Sculptors in February 2023. Morgan uses multimedia materials to create it. critically acclaimed sculptures, but she said working in the cold affects the hardening times of her cast models and she has to adapt as she goes. She’s also “perhaps less experimental with materials for now” and has kept the amount of collateral materials used in her work to a minimum.

In Paris, artist Brennan Gerard of the duo Gerard & Kelly, who has just started a collaboration with the Marian Goodman gallery, said the energy crisis has affected their exhibition at the Carré d’Art museum in Nîmes, until 26 March 2023. “Everyone has had to work harder to make [the show] possible,” Gerard said, concluding, “As a society, we must collectively and urgently find solutions to our reliance on oligarchs and totalitarian governments for energy.

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Art: Karine Giboulo’s “housewarming party” at the Gardiner Museum https://horror-fanatics.com/art-karine-giboulos-housewarming-party-at-the-gardiner-museum/ Sat, 29 Oct 2022 09:32:48 +0000 https://horror-fanatics.com/art-karine-giboulos-housewarming-party-at-the-gardiner-museum/ In 18th century Britain, miniature houses were considered a luxury of high society. Ornately carved trinkets, these “baby houses” were not intended for play but as a teaching tool for servants. Wealthy Europeans commissioned small versions of their homes to show off priceless collectibles. There’s a fascinating history of miniature making to uncover – from […]]]>

In 18th century Britain, miniature houses were considered a luxury of high society. Ornately carved trinkets, these “baby houses” were not intended for play but as a teaching tool for servants. Wealthy Europeans commissioned small versions of their homes to show off priceless collectibles.

There’s a fascinating history of miniature making to uncover – from post-war children’s dollhouses to nightmarish tableaux from the 2018 horror film ‘Hereditary’ – before you arrive at the doorstep of the wonderful new exhibition by Montreal sculptor Karine Giboulo, “Housewarming”. now in the Gardiner Museum. Where these early replicas dominated economic status, Giboulo’s thought-provoking diorama house, inhabited by more than 500 Lilliputian polymer clay figures, invites us to reflect on those whose daily lives are rarely captured in art.

“The Housewarming Party” feels familiar yet bizarre, humorous yet heartbreaking, as if our collective experiences through COVID-19 are being analyzed through a Wonderland filter. Giboulo compares the space to a diary and a commentary on life through the pandemic. I hesitate to go into too much detail – the real magic of this show is physically moving through space and peeking around every corner.

On the top floor of the Gardiner, Giboulo and his team, including curator Karine Tsoumis, have reinvented a life-size version of his house, blurring fiction and reality. At first glance, life seems normal, but this cozy cushion is inhabited by hundreds of little people focused on their own daily routines. Nothing is quite what it seems: a worn kitchen towel is actually sculpted out of clay, as is a well-used Minions toothbrush in the bathroom. (For laughs, look at the Zoom face on the office worker perched inside the birdcage.)

Outside the front door, I spot a familiar sight: a cardboard Amazon box sitting on the porch. Two eye holes are cut out, creating a malevolent smile from the dipping logo. Crouching to look inside the box fitted with a deceptive mirror, I find a warehouse filled with endless rows of masked workers, packing an endless number of tiny boxes. It’s a disturbing reminder that the luxury of delivery comes at a human cost.

“A big theme throughout the house is about the other side of our home comforts, where some people basically work so we can stay home,” Tsoumis said.

During the pandemic, Giboulo traded her studio for a seat at the kitchen table, working from home, a lifestyle she has since pursued, scheduling much of this show via Zoom calls. “It’s so comfortable,” she said. “I feel like I’m creating in a bubble.”

Walk through the kitchen and you’ll spot a tiny Giboulo sitting in a coffee pot, feet adorned with chunky checkered slippers, sculpting an even smaller version of the polymer bananas that sit on the kitchen table as they’re sanitized. chemically by a tiny person in a hazmat suit. It’s this comfort and play of scale that becomes unsettling as you move around the kitchen.

On the counter, a line of little people wait patiently at a food bank housed in a bag of recyclable groceries. A Dutch oven becomes a makeshift home for a group of refugees preparing a simple communal meal. In the pantry, shelves of canning jars depict long-term care workers and residents isolated from each other and the outside world. While the crafting and cooking of canned jars is ubiquitous on Pinterest, here they are used as mourning vessels, imprisoning hunched bodies.

“It’s a component that preserves food,” Giboulo said of the jars’ use as human containers. She makes sure that every little person has unique features, from their face to their posture and their clothes. “Sometimes I think we try to preserve life, but not meet emotional needs.”

Giboulo, who also works in documentary, has been creating these representative clay models for over 25 years. She initially focused on large paintings that played with human scale but, in an experiment, found she preferred the materiality of clay. It is also a form that allows him to reduce some of the heavy subject matter that his work considers in a way that does not overwhelm him.

What hasn’t changed is the way his social conscience drives artistic creation and the way Giboulo uses his characters to reflect on troubling global crises.

In 2012, she created “Democracy Village”, a Haitian shanty town based on her own visits to Port-au-Prince. In “Housewarming,” her first fully immersive show, a dresser of garment workers on industrial sewing machines is modeled after her visit to China some 20 years ago, when she posed as a woman in business to access the floors of the factory. Atop the chest of drawers is a small model of her grandmother, knitting for her family as an act of love.

Giboulo notes how easy it is to close the drawer and ignore the human costs of fast fashion.

“Clothes are supposed to take care of people,” she said, pointing out the juxtaposition. “But who takes care of these people?”

Just months before the pandemic, Giboulo was diagnosed with ankylosing spondylitis, an inflammatory disease that primarily affects the spine and bones, sometimes called “dinosaur disease.” In the bedroom, we see little Giboulo not as an artist but as a fallible human, reflected in the mirror by a gray shadow, her body metamorphosing into a prehistoric creature. “I already felt more confined to my body,” she said.

The pretty sheets on the bed with their three-dimensional floral pattern suggest hope, while little clay Giboulo and her husband, comfortably settled in the middle, enjoy a peaceful rest.

It was in this quiet moment, in the most intimate room of the house, that Giboulo’s message of hope and the power of art really touched the house as she revealed, “I decided to give me a good night’s sleep.

Karine Giboulo: Housewarming, is on at the Gardiner Museum, 111 Queen’s Park until May 7, 2023. See gardinermuseum.on.ca for more information.


Sue Carter is associate editor of Inuit Arts Quarterly and freelance contributor based in Toronto. Follow her on Twitter: @flinnflon


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