Me callaré en el pasillo del idiota

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During my holidays i go back to Institution Sainte Marie (founded in 1849), my college/high school (boys only at that time) located at La Seyne sur Mer (south of France).

Our professor, M. Rubio was in front of us, hands behind is back walking with a military march. We took this corridor to go to spanish lessons when i was in college. The « journey » in the darkness seemed endless and we mess around a lot, it was fun.

Unfortunately most of the time when we arrived in the classroom, the last to the right (see photo above), M. Rubio pointed one of us and tell him this sentence: « Me callaré en el pasillo del idiota » (i’ll shut up in the fool’s hall) . The pupil knew then that he had been chosen to copy this sentence a hundred of times for the next course…

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One of the 6 huge playgrounds, on this one i played furious football games during lunch time.

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A view of the church inside the college

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You recognize this guy…

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The entrance with a memorial plaque (founded march 1, 1849)

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Ace Hotel NYC, a typographic journey

Ace Hotel NYC, 20 West 29th Street

In Midtown Manhattan the wholesalers slowly leave the place to trendy boutiques like Maison Kitsuné. In a couple of year Midtown Manhattan will be the next spot for the trendsetters. Ace choose the heart of this district to open one of their hotel where the history of a building meets design and arts.

At Ace NYC I like the use of (what it seems to be) Akzidenz-Grotesk font for the signings. I like the graphic design feeling that Roman & Williams, the firm which design the interiors, gave to this place.

It is all about typo.

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Akzidenz-Grotesk Bold Condensed

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Akzidenz-Grotesk Bold Extended

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Akzidenz-Grotesk Bold Extended

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Akzidenz-Grotesk Bold Extended (customized)

and…

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The entrance

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Serif fonts. Even with chalk handwriting a special attention is paid to typography…

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Above, on a desk what look like Trixie font

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Handwritings…

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Beautiful people

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Above Ms. Diane Kruger

A cocktail at the Withney Museum, New-York, july 2012

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Ms. Sofia Coppola

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Left: Jordi Constans, will replace Yves Carcelle in 2013 as CEO of Louis Vuitton

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Mr. André and Mr. Yves Carcelle, CEO of Louis Vuitton

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Teresa Abrunhosa, behind the scene during Porto fashion week

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Before the show at Bloom, a model concentrates deeply

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After the show, designer Teresa Abrunhosa, strike a pose

Fashion is a passion and Teresa Abrunhosa with her academic background slowly moved to this world. It’s only last year that she started studying fashion. Before she studied fine arts, then works as an illustrator and made some internships in various portuguese fashion houses.

Miguel Flor, coordinator of Bloom, offer her the opportunity to show her first collection during Porto fashion week.

Tight fitting, laser cuts showing the skin, transparencies that « reveal » but not totally are the main characteristics of The age of consent, a collection not as daring and edgy as the references Teresa gave me (the powerful women of Helmut Newton or Guy Bourdin).

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Backstage at Daniela Barros during Porto fashion week

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Akkadian (from the sumerian city Akkad 24th century BC) collection from Daniela Barros.

Always influenced by mythology and divinities, strong feminity and dark melancholy. Daniela Barros this season, show us something more « sporty » giving us hoods, fluidity and some wrap around.

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I love the mesh work on the top (above)

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Yayoï Kusama | Early works, accumulation and « self-obliteration » concept

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Meeting with Yayoi Kusama, New-Yorc City, july 10, 2012

Yayoi Kusama arrived in New-York in 1957. I’ve always been fascinated by accumulation and repetition in visual art. The works I selected here are my favorites, they are part of the exhibition set at the Whitney Museum.

From the « Infinity Nets » paintings to the « Accumulation » works (all shown below) you see the beginnings of the « dots », of the happenings and the « self-obliteration » concept. You imagine the struggle the artist had to do to make a living from her work (being an ‘outsider’, an artist and independant asian women in the seventies in NYC was not easy).

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I spent a lot of time contemplating these paintings below.

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NO.White A.Z 1958, 1959 and NO.A.B, 1959

These paintings (above) are part of « Infinity Nets » series, first exhibited in 1959 and first success of the artist in America and Europe.


Pacific Ocean, 1960

These large-scale paintings are iterations of the same gesture, obsessive and meditative, a subtle movement of the wrist.

Below, Kusama’s drawings and notes

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A letter from painter Georgia O’Keeffe admired by Yayoi Kusama


Adam Weinberg, director of the Withney museum (during the press conference)

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Above, David Kiehl, curator of the exhibition (during the press conference) and in the background M. Yves Carcelle

At the beginning of the sixties Yayoi Kusama began a new body of work, the Accumulation sculptures. The artist use her complexes and fear as subjects, the phallus or the industrially producted food (macaroni).

« I make them and make them, and then keep on making them, until i bury myself in the process. I call this ‘obliteration' » (Yayoi Kusama, Infinity Net)

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Phallic dress, c. 1968, Phallic handbag, c.1968 and Phallic shoe, c.1968

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Macaroni pants, 1968

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Untitled accumulation, 1963

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Flower overcoat, 1964

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Accumulation No. 2, 1962

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Air mail stickers, 1962

At the end of the sixties, Kusama is well exposed in the art world, but not fully accepted. The socio-political world was changing (think Vietnam, civil rights movements, the end of Swinging London, may 1968 protests in France), she must find a new way of keeping interest on her work. She started to make happenings and performative experimentation, perfectly connected with the rising hippie scene.

In 1969, Yayoi Kusama open a clothing boutique to sell her fashion designs. Most of the garment were covered with polka dots (remember the Louis Vuitton’s pop-up store?) or sexually daring.

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Kusama’s daring fashion


Naked performances

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In 1969, Kusama’s name became so connected with sex happenings and daring attitudes than her name was licensed to a pornographic tabloid, « Kusama Orgy ».

In the early 1970, über exposed, depressive and suffering from increasing pressure, Yayoi Kusama returned home and started a new era of works.

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