Partizan films along with AB/CD/CD have created a series of super clever ads for Opening Ceremony to promote their Spring/Summer 2012 collection. They’ve taken the clichés of Jean-Luc Godard films – the over-the-top romance, the cheesy lines – and turned them on their head a bit and making you laugh in the process. It’s a smart move by Opening Ceremony to create funny ads like these that will surely be shared around the web, like so. I mean, who still watches television? If you’re curious about the seeing the whole Spring/Summer 2012 collection, you can click here.
If Andre Tarkovsky, Stanley Kubrick and George Lucas had collaborated to create an über strange art house sci-fi film it would most likely resemble the inner workings of Beyond the Black Rainbow. Canadian filmmaker Panos Cosmatos’ first feature film is an amalgamation of the ethereal crawl of Solaris, set in a Kubrickian vision of the future with a plot akin to THX 1138. The clinical aesthetic of Beyond the Black Rainbow has been drawn upon as backdrop for countless ‘asylum’ centered films and there is no question of where Cosmatos’ creative inspiration stems from. His predecessors are boldly acknowledged through the futuristic set design and intricate mise-en-scene, yet the film still stands unique and begs to be understood on a conceptual level.
Premièring at the Tribeca Film festival in 2011 and the Montreal Fantasia Film Festival the same year, Beyond the Black Rainbow has been gaining a cult following despite its narrow release, which is set to change next month thanks to Magnet Releasing (Magnolia Pictures). Undeniably, the film will appeal most to a niche of cinephiles who devour visual feasts or alternatively to those who prefer a ‘pharmatose’ viewing experience. Nevertheless, it is a stunning film of accomplishment for a first time filmmaker whose roots in music video production are present in the astute attention placed on sound design. The haunting score, designed by Jeremy Schmidt of Black Mountain, is sure to slowly immerse you into a trancelike viewing state.
Set in 1983, as previous generations would have imagine it to be, Beyond the Back Rainbow takes place at the Arboria Institute, a hidden den that claims to help you find true happiness and solace. Once inside the institute, it is clear that the only patient of importance is the ingénue Elena (Eva Allan). The young and beautiful capture is forced to endure ‘therapeutic’ sessions facilitated by the ultra creepy Dr. Barry Nyle (Michael Rogers) who transforms from pill-popping junkie to supernatural zombie psychopath as the film progresses. With an 11 page script, it is evident that dialogue is a mere accessory here, as Cosmatos’ chooses to execute his film through an experimental vision in the same vein as a curated video installation. Spellbound by the beauty of this dystopian nightmare, questions concerning the loosely woven plot are allowed to remain unanswered. Beyond the Black Rainbow will blow your mind, if you let it. Leave your expectations at the door, dowse yourself in its hypnotic rhythm and engage in this experimental misadventure.
There is definitly something kind of strange about these paintings by the English illustrator and painter Sophie Alda. That said, there’s also something kind of wonderful about them too. Painted in gouche, her images are filled with beautiful pastel shades and are populated with odd and ugly characters. The flat nature of her paintings is really beautiful, but for me it’s her warped view of people that I really like. They’re strange, awkward and creepy – yet in many ways they feel like very honest depictions of people.
If you get the chance and if you’re a fan of the absurd make sure to check out more of her work online here, I’m particullarly fond of her Wobbledogs, GIF PARTY!
Daniel Frost is a British illustrator I stumbled across recently, his vibrant working catching my eye immediately. There’s a simplicity to his work, the shape of his characters are whimsical and his color palette is bright and primary. It’s really a treat to look at his work, it’s all so dynamic feeling.
I was particularly drawn to these postcards he did along with YCN called Trademarks. The idea is that types of people have a trademark quality to them, like a sailors sea legs or a bicyclists muscly thighs. It’s a funny concept and some of the images he’s created are hysterical. I also like these because of their colored backgrounds, as he usually uses only white in his backgrounds. I think it makes a huge difference in his work an I hope he starts putting more color in.
Even though I don’t want to be be buried, or die anytime soon, I’ve spent an embarrassing amount of time sketching what I’d want my grave to look like. I don’t want to be buried though, so it’s more likely that I’ll be found toe-up in a vat of formaldehyde, medical students picking me apart until there’s nothing left. What’s most likely is that I’ll be cremated after I die, no frills or education involved. It has never occurred to me think about where I’d want to be cremated until after seeing images of this Crematorium in Lithuania designed by Architektu Biuras G.Natkevicius ir Partneriai.
There’s a distinct attitude about this crematorium: it’s very visible. The windows are expressive and almost look like confetti strewn across concrete walls. It’s easy to want to hide crematoriums because they can be morbid places that we’d rather not think about, but these places can also mean more. Maybe shopping for a crematorium isn’t so far fetched, but by the time I end up in one I really won’t care. It won’t be about me, but my friends and family, and what they want to do. So if it’s two hundred years from now, and you’re a relative of mine and wondering what to do with my body: figure out if they’ve built something like this in Hawaii and go there.
This particular crematorium is the only crematorium in Lithuania. It was realized in spite of opposition by deep-seated religious traditionalists, so it may not be too surprising that it’s in a strange part of town, surrounded by factories and industrial plants instead of green space with actual plants. The project is introverted, in part, to shield visitors from the context, but also to minimize distractions for visitors. One curious detail about this project, and it’s context, is that even though it is surrounded by sugar mills and fertilizer factors with tall chimney stacks, the architects intentionally kept the chimney of the crematorium as small and out of sight as possible; they didn’t want the sight of the chimney to cause bad feelings.
We’ve reached, in my opinion, the pinnacle of Modest Mouse, the last great album they ever released. I’m talking about Building Nothing Out Of Something, a collection of songs that were released between 1996 and 1998. The album was released in the beginning of 2000, 12 years ago, it seems like a life time ago. Listening to this album I think of how I had no idea that this wasn’t a cohesive thought, that I never paid attention to the fact that it was a menagerie of tunes.
This collection to me is the embodiment of what Modest Mouse sounds like. It encapsulates the uneasiness of Brock’s lyrics, the fascination with travel, math, the moon, ice. It also has some of the most sensitive lyrics he’s ever written. Songs like Broke and Baby Blue Sedan are what Modest Mouse sounds like, though I’m not sure others hear them that way. There was something about their sound back then that was honest. They sounded like a bunch of guys trying to make an album with the best tools they had. Brock’s voice is slightly out of tune, as are the guitars. The flaws and character were a part of the charm.
If you’ve never been a fan of Modest Mouse, I implore you to listen to this album. It defies all the expectations you may have, and could maybe show you a side to their music you didn’t know they had.
As for the wallpaper, super illustrator Deke Smith has created this awesome piece that sums up the album so well. The album is made up of pieces and parts and so is his wallpaper, but each work as a cohesive thought. He’s created some pretty rad symbols, and I love the color palette he chose as well. A huge thanks to Deke and be sure to check back next week as we hit up The Moon and Antarctica.
What I love about the pattern, the version at top being the one they used, is how it feels both older and contemporary at the same time. The age comes through in the mild distressing of the images, while the contemporary feeling comes through in the colors. Seeing this shirt on the rack, and of course on a person, is a thing of beauty, and it’s exciting that the folks at Steven Alan can see just how talented Harriet is. You can see more by clicking here.
I was flicking through an old issue of Wallpaper today when I came across these great looking shelves designed by the Norwegian designer Bjørn Jørund Blikstad. I love the idea of shelving units that make a statement, and that’s exactly what Blikstad’s design does.
Called Imeüble, the completed piece is made up of a series of modular and brightly colored shelves and Blikstad believes that the 3D nature of his design will help people to easily remember exactly where they have put their documents, books and whatever else they need to store. “I’m interested in storage” he tells Wallpaper. “Everyone wants to make beautiful chairs, but there hasn’t been that much innovation in ways of storing things.” He certainly has a point, and I definitely think he’s on the right track with this excellent design.
Although originally created in 2009 as part of his Master’s degree from Oslo’s National Academy of the Arts, Imeüble was officially launched last month through By Corporation at the Stockholm Furniture Fair. More details about the shelves can be found on their website here.