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luís soares

Blog do escritor Luís Soares

That's Desire / Here We Are

Fragile / Wolfgang Tillmans - Visual Album - ‘That’s Desire / Here We Are EP’

 

Directed and photographed by Wolfgang Tillmans, this 27 minutes film features performances by Hari Nef, Karis Wilde, Ash B., Matthew Salinas, Bashir Daviid Naim, Rachel Guest, Christopher Olszewski and himself as well as band members Juan Pablo Echeverri, Jay Pluck, Kyle Combs, Tom Roach and Daniel Pearce.

Participants danced and improvised in Los Angeles and New York to the music, without previously knowing it. Whilst editing the footage with Michael Amstad in Berlin, it became clear, that what was planned to be cut into six individual videos, should not be separated, but should remain as a consecutive sequence of six different moods.

Explaining the motivations behind the visual album Wolfgang Tillmans says: "Four songs have been written and recorded this summer in Fire Island and New York, in a time now marked as 'post Brexit / pre Trump'. New Jersey’s Ash B.’s performance and improvised rap on That’s Desire blew us away. The song was recorded in 30 minutes. Two vocal takes by myself, one by Ash B. That was it. Warm Star was written and recorded in Porto in January this year. Principally a love song with political undertones, some lines of the lyrics later made it onto my pro EU / anti Brexit campaign posters. Fast Lane is a recording from 1986, myself 17 years old, an electro-punk piece inspired by cold war angst and nausea at political indifference with the now more than ever poignant line ‘we take the fast lane into the dark’. I wanted the overall feel of the EP to be reflecting the desire to carry on and live our lives in a quest for personal happiness, whatever the circumstances are. We need to protest and campaign, but this shouldn’t stop us from reaffirming love and life, here and now. Anderes Osterlied is a song written by Swiss liberation theologian Kurt Marti in 1970. Even though I find it hard to believe in organised religion, I was and am deeply touched by this song ever since I first heard it in the early 90ies. Here We Are is about a moment of personal love and Naive Me is about the shock of realising the unimaginable happened on June 23 / Nov 8"

"I’m grateful for the trust and openess each dancer, actor, performer brought to this project, - giving everything in a white blank space to the sound of a boombox. A set of coloured gels in front of the window being the only production props”

I'll Still Destroy You

The National released the video for ‘I’ll Still Destroy You’, off their most recent album Sleep Well Beast.  

‘I’ll Still Destroy You’ was directed by Allan Sigurðsson and Icelandic performance and installation artist Ragnar Kjartansson. Ragnar, who also appears in the video, collaborated with The National for A Lot Of Sorrow which saw the band play their song ‘Sorrow’ for six hours in front of a live audience at MOMA’s PS1. ‘I’ll Still Destroy You’ was filmed in Copenhagen, Denmark during the Aaron and Bryce Dessner created HAVEN Festival.

Directed by Allan Sigurðsson and Ragnar Kjartansson

Produced by Lilja Gunnarsdóttir, Ingibjörg Sigurjónsdóttir and Haven Festival

Set design: Anda Skrejane, Christoph Fischer, Camilla Hägebarth, Julia Krawczynski.

Girl with the Red Hat

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Girl with the Red Hat is one of Johannes Vermeer’s smallest works, and it is painted on panel rather than on his customary canvas. The girl has turned in her chair and interacts with the viewer through her direct gaze. Girl with the Red Hat is portrayed with unusual spontaneity and informality. The artist’s exquisite use of color is this painting’s most striking characteristic, for both its compositional and its psychological effects. Vermeer concentrated the two major colors in two distinct areas: a vibrant red for the hat and a sumptuous blue for the robe; he then used the intensity of the white cravat to unify the whole.

Following in his father’s footsteps, Vermeer also was an art dealer in Delft. There is no documentation of his artistic training or apprenticeship, but in 1653 he became a master in the Saint Luke’s Guild in Delft; he would serve as head of that guild four times in the 1660s and 1670s. Although he was well regarded in his lifetime, he was heavily in debt when he died in 1675. Only in the late nineteenth century did Vermeer achieve widespread fame for his intimate genre scenes and quiet cityscapes.